Reviews are weird things for theatre makers. We give them an oversized space in our brain partly because they become (if we are “lucky” enough to gain one) the comment of record. Partly - we must admit - from some human sin of vanity. There are few pieces of journalism I remember over the years, and perhaps to my dismay, theatre reviews are some of them! I think on this as Arifa Akbar - now chief theatre critic at the Guardian - wrote on how her opinion on a play changed over time.*
In 2003, I watched one of my first plays, Lost in Peru, almost every single night and if you count the rehearsals this probably took viewings over 40 times which eclipsed the viewing of everyone else, even the director. (The actors counting differently.) Performed at Camden People’s Theatre with the sound of traffic drifting through.
On one level, without the play, I would not have met the love of my life (who came to watch the play), it also impacted at least some of the audience who came to see it, taking them places and challenging them to think about matters (in this case torture survivors, also love) they had never thought about in such ways. This is probably the better measure (and not a measure we can really count), if we should or can measure this form of art at all; and also the development of the artists involved (for instance, designer theatre maker, Mamoru Ichiguru, actor Lucy Ellinson, director, Sarah Levinsky, who have all gone on to create extraordinary art). But, the play’s most notable written record is a 2 star review in the Guardian by Lyn Gardner. You can read it still*. Why on earth do I remember this, 19 years later? And am I still the person she wrote of:
“But, goodness, it is great to see a young writer reaching out beyond his own experience.”
Perhaps, she reached the truth of it, as I am certainly still reaching out although no longer young.
I think I watched the play so many times for many reasons. I am/was fascinated by the art of live performance, how it changes with audience, performers, time and yourself. How - even as the writer - I discovered new aspects to my own work. Do visual artists ever speak about finding the same - a painting revealing new insights to them as they view their own work over time? And because, underlying I sensed I might never produce theatre work again [I have an intense “day job” managing pension fund money]. And certainly never see this work again.
I was incorrect on not making theatre as in 2007, I adapted a Noh play, won a prize and had Nakamitsu performed at the Gate Theatre. Here I remember, to the positive, Sam Marlowe’s review* in the Times which probably remains my “best” review still with the quote:
“Rare and Riveting”
Although blogger Travis Seifman* probably produced the most insightful review* [Travis has now been blogging 20 over years, and thus is one of many archives of lovely insightful essays hidden on the interweb] and my blogging friends, Westend Whingers, one of the more fun reviews*.
Nakamitsu sold out and probably touched perhaps 500 to 1000 people maximum. On one level, making fringe theatre a minor art, although quite possibly the impact it had on some of those people may have been great. I reflect that now a single podcast episode* I make is likely heard by more people than who will ever see Nakamitsu.
Marlowe and Gardner are still reviewing, and I am sure artists are still remembering. I happen still to be making theatre! My work still plays to tiny audiences. Thinking Bigly: How We Die has been seen by 80 people [and in some elliptical fate was performed at Camden People’s Theatre* where Lost in Peru was shown - but this time minus the traffic sounds], but I’m told has heavily impacted some. I may only perform it a handful of times more, or maybe never. At least, I feel I am almost over never having a critic see it.
The record of note will be in the thoughts and dreams of others.
Below, Sam Marlowe’s review in the Times, as no longer on the internet except in archive.
Arifa Akbar on changing her mind on a play: https://www.theguardian.com/stage/2022/may/03/theatre-criticism-views-change-and-so-do-plays
Travis Seifman blog: https://chaari.wordpress.com/2011/05/12/nakamitsu/
You will see a slice of Japan if you follow Travis, and discover ideas and art you never knew.
Lyn Gardner’s 2 star review of Lost in Peru: https://www.theguardian.com/stage/2003/apr/14/theatre.artsfeatures1
WestEnd Whingers review of Nakamitsu (in general don’t get friends to review your work, I think!): https://westendwhingers.wordpress.com/2007/06/08/review-nakamitsu-gate-theatre-notting-hill/
(last review by Phil was Dec 2020, I hope one of the last blogs of the golden age of theatre blogging still goes on…)
Bigly at CPT in March 2022, 19 years after Lost in Peru: https://cptheatre.co.uk/whatson/Thinking-Bigly-How-We-Die
Podcasts: https://www.thendobetter.com/podcast
