TIL 8 June
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Though Friel has disingenuously<br />
claimed that Translations was never meant<br />
to be a political play, there is no denying it<br />
is a microcosm of the problems that have<br />
beset Ireland right up to the present time.<br />
But more fundamentally, it is a play about<br />
the power and importance of language –<br />
both as a bond and as a barrier – and is<br />
rich in symbolism. Manus’s disability is<br />
endemic of the community’s inability to<br />
progress; Yolland and Maire’s lack of<br />
verbal communication speaks volumes<br />
about the the nature of communication,<br />
while the name-changing in the mapmaking<br />
process equates to the rape and<br />
surrendering of Irish culture, the effects<br />
of which still bear scars.<br />
Friel posits many on-going questions<br />
about Ireland and its past but offers no<br />
easy catchall answers. Indeed, plot-wise<br />
the play’s ending is pretty indeterminate<br />
and ambiguous in its message. But there<br />
is no denying the resonance of his<br />
commitment to the on-going conundrum<br />
of Ireland vs England or the energy of<br />
the writing which is as compulsive as is<br />
Rickson’s exemplary direction<br />
My initial fear with this revival was that<br />
the Olivier was, perhaps, too vast a space<br />
to distil the essence of an intimate tragedy<br />
about a small community’s lack of<br />
communication and failure to understand<br />
the world they inhabit. But Rae Smith’s<br />
design, comprising a stair-case at the<br />
extreme left of the stage almost as high as<br />
the auditorium itself, the farm buildingcum-hedge<br />
school and a marshy<br />
landscape with its atmospheric cloud<br />
formations, provides an appropriately epic<br />
scale to a contemporary classic.<br />
The cast is uniformly excellent with<br />
Colin Morgan as the official translator,<br />
Dermot Crowley’s classical scholar,<br />
Ciarian Hinds’s poteen-fuelled head<br />
school master, Adetomiwa Edun’s lovestruck<br />
Lieutenant, Judith Roddy as the<br />
object of his affection and Michelle Fox<br />
as hapless Sarah brlnging total<br />
conviction to every scene they’re in.<br />
A timely revival and a much needed<br />
return to form for the National Theatre.<br />
CLIVE HIRSCHHORN<br />
Photo: Matthew Murphy<br />
Michael Jibson (King George).<br />
NEW BOOKING PERIOD ANNOUNCED<br />
FOR HAMILTON<br />
A new booking period for the London<br />
production of Hamilton goes on sale this<br />
week with tickets now available to be<br />
purchased for performances to Saturday<br />
30 March 2019.<br />
Hamilton is the story of America’s<br />
Founding Father Alexander Hamilton,<br />
an immigrant from the West Indies who<br />
became George Washington’s right-hand<br />
man during the Revolutionary War and<br />
helped shape the very foundations of the<br />
America we know today. The score<br />
blends hip-hop, jazz, blues, rap, R&B<br />
and Broadway – the story of America<br />
then, as told by America now.<br />
Hamilton has book, music and lyrics<br />
by Lin-Manuel Miranda, is directed by<br />
Thomas Kail, with choreography by<br />
Andy Blankenbuehler and musical<br />
supervision and orchestrations by Alex<br />
Lacamoire and based on Ron Chernow’s<br />
biography of Alexander Hamilton.<br />
Full ticketing information can be<br />
found on the official website at<br />
hamiltonthemusical.co.uk which<br />
includes details of the Hamilton West<br />
End £10 daily Lottery. In addition,<br />
visitors are advised to check the official<br />
Hamilton channels for news of late<br />
release seats which may become<br />
available at short notice.<br />
CIRCOLOMBIA HEADLINES<br />
SOUTHBANK UNDERBELLY FESTIVAL<br />
Circus performers have brought guts,<br />
grace and gusto, direct from Bogota to<br />
London’s Southbank as Circolombia<br />
performs its headline run at the<br />
Underbelly Festival until 14 July.<br />
The highly acclaimed show packed<br />
full of explosive Latin energy from a<br />
fourteen strong cast of world class<br />
circus artists, captures the endless<br />
dynamic force of Colombian life through<br />
relentless performance and jaw dropping<br />
skill. Circolombia is no ordinary circus.<br />
Coupled with live original music and<br />
electrifying singers, Circolombia delivers<br />
world-class, gravity defying performances<br />
that will have audiences shaking their<br />
heads in disbelief and dancing in the<br />
aisles to the beat-heavy soundscape.<br />
The electrifying troupe bring their<br />
unique and visceral performance style<br />
inspired by Colombia’s diverse<br />
communities to every performance.<br />
Circolombia features the raw, fearless<br />
power of fourteen of the most talented<br />
performers across the country, capturing<br />
the pace of life and Colombian energy.<br />
Delivering spectacular performance<br />
coupled with mind-boggling acrobatic<br />
skill and a willingness to take terrifying<br />
risks on stage, Circolombia promises a<br />
show audiences never forget.<br />
Circolombia's Julia Sanchez Aja<br />
performs the Cloud Swing.<br />
(c) The Other Richard.<br />
19<br />
t h i s i s l o n d o n m a g a z i n e • t h i s i s l o n d o n o n l i n e