Cry of the dead

The title of Iain Bell’s brave new opera, Jack the Ripper: The Women of Whitechapel (London Coliseum) is something of a misnomer as the infamous serial killer is nowhere to be seen though his murderous shadow looms large over the women upon whom he preyed. Bell was clear he did not want to glamorise the heinous crimes and instead tell the story of those mainly forgotten women, their abject poverty, their chosen solution for survival and in doing so restore some of their stolen dignity. A laudable aim and an experiment that nearly works but as so little is known about the women trying to dramatise their stories is an arduous task. No bloodcurdling killings, thus no constant menace and threat leaves the piece somewhat lacking in real drama.

Nevertheless the performers who portray the characters of the five victims, nobody is sure how many he actually murdered, were tremendously good. Lesley Garret (Catherine Eddowes) is the name most will recognise and sure enough she delivers. There is superb work from Natalya Romaniw as Mary Kelly and Susan Bullock is especially moving in the role of Liz Stride. However, it is septuagenarian Dame Josephine Barstow who dominates as the uncompromising Maud, owner of the dosshouse where the women come to escape the dark and dangerous cobbled Victorian streets and alleyways. Her portrayal was all consuming, devoid of sentimentality yet utterly supportive and understanding of their plight.

Unsurprisingly the men play second fiddle in Daniel Kramer’s uneven production but William Morgan (Writer) was strong in tone and interpretation and yet again the ENO chorus was excellent. If there is a better chorus anywhere I have yet to hear them. Designer Soutra Gilmour provided an evocative set and the voyeuristic eyes of men peering at the action was particularly effective and disturbing. In the end this fresh look at the Ripper enigma deserves credit for its raison d’etre but lacks those key elements that make for the gripping opera that it could have been.

Meanwhile Guillermo Bigalow extols courage and controversy…

The Royal Court continues to champion new work, often experimental and in the case of Pah-La (“father” in Tibetan) daring and controversial as it tries, in part, to unravel the relationship between China and Tibet. Many have tried. Playwright Abhishek Majumdar overcame several obstacles to get it staged but also received the blessing of the Dalai Lama. Deshar (Millicent Wong is excellent) a young rebellious Tibetan runs away from home and joins a nunnery. China decides they need to be re-educated Chinese style and Communist Police Captain Deng (an impressive Daniel York Lah) is the enforcer. Deshar goes for broke, setting herself ablaze, cue an uprising against China.

A vast amount of research has gone into producing the play and all those involved deserve credit for that work, based on the Lhaso riots of 2008. It was not without risk and as a result one can forgive the parts which are stilted, for example a monologue on fatherhood by the female prison guard seems as though it has been inserted rather than flowing as a natural thread through the play. Imperfect yes but compelling too as it presents a challenging look at non-violence and reminds us of the on-going crimes against the Tibetan people. More theatre like this please.

Finally, Rose Goodenough appreciates the theatrical craft…

Christopher Hayden’s superlative production of Kazuo Ishiguro’s The Remains of the Day (Yvonne Arnaud), adapted for the stage by Barney Norris, and now touring the UK, must be seen. Although the action takes place in the 1940’s it is still relevant to modern day Britain as one of the core themes is the class structure and the impact it has on the differing echelons in our society. At its heart is a butler (Stevens), his appeasing master (Lord Darlington) and housekeeper (Miss Kenton) who gently pursues Stevens with flowers and interest in his books. The performances were exquisitely crafted. Moments that were beautifully poignant were intertwined with a clash of classes and etiquette and a thread of honesty that makes you ponder long into the night.

 ‘The Women of Whitechapel – run complete

Pah-La – 020 7565 5000

The Remains of the Day – on tour

Barney Efthimiou