Theatre review: Here in America

It seems a long time since I saw a David Edgar play and all of a sudden he's got two new ones out; first up at the Orange Tree is Here In America, a look at the friendship and professional relationship between playwright Arthur Miller and his regular director Elia Kazan, and how it was strained by the House Un-American Activities Committee, which called them both to testify with very different outcomes. Although the play makes no disguise of who the characters are, they all go by nicknames: Kazan goes by Gadg, short for Gadget (Shaun Evans,) who's invited Art (Michael Aloni) to his house to look at cheese, and to confess to him that he's about to go in front of HUAC to name members of their theatre company who were communists alongside him. Of the two, Art was never actually a card-carrying party member, but he's the one who's still held onto the strongest anti-capitalist beliefs, as well as the sense of honour in not betraying his friends.

Theatre review: Manor

The world may be far from out of the pandemic woods yet, but in some parts of the theatrical landscape nature is healing: After a few months' honeymoon period, the papers have gone back to announcing that Rufus Norris has scheduled a show that will single-handedly bring down the National Theatre (a feat even Damned by Despair couldn't manage, calm down.*) The latest recipient of this dubious honour is Manor, Moira Buffini's new topical - perhaps too broadly topical - play that sets a political crisis against the backdrop of the climate crisis. Diana (Nancy Carroll) is the heir to a crumbling manor house somewhere near the coast, where she lives with her ageing rocker husband Pete (Owen McDonnell) and their daughter Isis (Liadán Dunlea). As a catastrophic storm destroys the area and threatens to flood the grounds, a number of unexpected guests seek shelter - not great timing, as Diana's just accidentally pushed Pete down the stairs during an argument, killing him.