We next see Joan all grown up (played by Aisling Loftus) and working in a factory where she designs hats and vaguely flirts with a cynical colleague, Todd (Simon Manyonda), who whispers about corruption. Share. In the end, we are witnesses of the trauma of atrocity. There’s hushed talk of trials and dead bodies. We rely on advertising to help fund our award-winning journalism. Amid the imaginative playwriting there's a strong pull of emotional realism. Donmar Warehouse Projects ltd is a registered charity no. The aunt tries to persuade her that she's imagining things. Twenty years since it was first staged, the human race has — touch wood — not yet had to make alliances with crocodiles to survive. Okay, you could argue that, in the era of Trump, it feels even more like a prediction of the future than a vision of a dystopic nightmare. As ever, it is Caryl Churchill - theatre's greatest disruptor - that breaks that rule, with this tense, brooding and brilliantly incisive theatrical short that packs more into 40 minutes than most playwrights achieve in two or three hours. Far Away, Donmar Warehouse review - one for the devotees |, Blindness, Donmar Warehouse review - a beautifully haunting parable, Top Girls, National Theatre review - dazzlingly perceptive classic, Quarter Life Crisis, Bridge Theatre review – slender and superficial, Hermione Lee: Tom Stoppard, A Life review - the last word on a theatrical wordsmith, Nights in the Garden of Spain & Miss Fozzard Finds Her Feet, Bridge Theatre review - potent mix of pain and comedy, Playing Sandwiches & A Lady of Letters, Bridge Theatre review - the darkness dazzles, twice over, Sunnymead Court, Tristan Bates Theatre review - a lovely lockdown romance, An Evening with an Immigrant, Bridge Theatre review – poetic and engaging, The Cheeky Chappie, The Warren Outdoors review - entertaining drama about risqué comic Max Miller, The Shrine & Bed Among the Lentils, Bridge Theatre review - loneliness shared, with wit and melancholy, The Outside Dog & The Hand of God, Bridge Theatre review - gems of frustration and disquiet, Rose, Hope Mill Theatre online review - a performer at her peak, 'I loved being a dresser': Sir Ronald Harwood, Oscar-winning writer, dies at 85, C-o-n-t-a-c-t, Musidrama review - a beautifully bonkers promenade. Carol Churchill dips into dystopian territory with this short, chilling and atmospheric revival of Far Away.
Through a Pinteresque exchange with her aunt, Harper (Jessica Hynes), we learn that this is no bucolic idyll but a place where bad things happen, where Harper’s husband is rounding up adults and children in a potting shed and beating them until they bleed. The cast deliver thoughtful performances: Jessica Hynes, BAFTA winner familiar from W1A and Years and Years, gives a convincing account of the evasive Harper when she is confronted by the beautifully observed naïve curiosity of Young Joan (pictured above), although her touch is less sure in the final avalanche of surrealism. But it’s the hats, which grow increasingly outlandish with every blackout, that we’re really watching. Certainly you could make slightly tenuous comparisons to our split from Europe or perhaps the schism at the heart of Trump’s America. Far Away is a dystopia of incomprehensible proportions. But seeing Lyndsey Turner’s restrained, rigorous revival 20 years later, it feels like Churchill’s warning is inching closer to the truth. Web page addresses and e-mail addresses turn into links automatically.
Far Away is at the Donmar Warehouse, London, until 28 March. The rather grotesque hats are made for rather grotesque purposes, as the wearers are being led on what sounds like a Nazi death march. Far Away is at the Donmar Warehouse until 28th March. Far Away is a very short play, yet it suggests a huge canvas of pain. It’s only in the dying moments, when a dazed Joan describes the chaos outside, that the play truly unsettles. It holds a mirror up to a host of current political and social issues, and at the same time smashes that mirror and has us in the audience desperately trying … Her young niece, Joan, has accidentally witnessed a horrible scene involving Harper's husband. Danger obscured … Jessica Hynes in Far Away. Turner's production is attractively designed by Lizzie Clachan, whose background and floor is red baize, and their staging of the crucial parade scene, with its noisy Viennese waltz music, is vivid in its cruel mockery of humanity. The production is only 45 minutes long and the words, and silences, could do with more time to land. Meanwhile Turner’s production, bar from one shiver-inducing coup de theatre half way through, is muted and unlovely. The real world slides away with frightening ease and pace in Caryl Churchill’s masterclass of tension Fifteen years later, that young girl — Joan (Aisling Loftus) — works in a factory with Todd (Simon Manyonda) making ridiculous hats. That, of course, is the point. Get a weekly digest of our critical highlights in your inbox each Thursday! 4.0 Stars. As Joan, Harper and Todd react to life first in a regime, witnessing the increasing cascade of violence, and systematic murder, and then take up arms to resist it, their political awareness grows. I do love this play, but I must admit that – unlike Churchill's very best work – its meaning doesn't deepen very much over the decades. It holds a mirror up to a host of current political and social issues, and at the same time smashes that mirror and has us in the audience desperately trying to piece together the fragments. by Aleks Sierz Thursday, 13 February 2020. Even if you ignored Tom Stoppard and Alan Bennett, there are half a dozen, perhaps a dozen, who have a stronger claim to that title. Several years pass, and the pair discuss whether they can still trust wasps, deer or water, with Joan’s aunt Harper (Jessica Hynes). Interestingly, the Donmar Warehouse is duly treating it as a main course, not an appetiser, with tickets at their usual scale of prices, from £10 to £40, so for some in the audience it works out at a pound a minute.
Even when a wall of hat-wearing prisoners is revealed, all of them terrified, it’s nothing more than a spectacle. That’s how prescient a playwright Caryl Churchill is. Registered in England No. That’s fitting for Churchill’s eerie fable, which stuns you with its craft before a more sinister feeling kicks in. So recognisably human. She chats to Todd, who's been there for a number of years.
By the second scene, young Joan has now grown up and is working as a milliner, decorating outlandish hats for some kind of fashion parade. Life was good in 2000, and as a callow twentysomething I took mild exception to Caryl Churchill’s elliptical depiction of a world heading towards the Apocalypse when it was first staged at the Royal Court. The production is only 45 minutes long and the words, and silences, could do with more time to land. Mr Sierz might have made it clear that it was a subjective thing, but I think he's right. The play plunges into unease almost immediately, as a young girl called Joan tells her aunt Harper whom she is staying with in the countryside of screams she's heard in the night. It’s all about the hats … Aisling Loftus (as Joan) and Simon Manyonda (as Todd) in Far Away. It's 2am, and she's ventured out to find out where they come from. As the adult Joan, Aisling Loftus is touching as the newcomer to the workshop, growing into the tense and troubled freedom fighter opposite Simon Manyonda, who brings to the part of Todd a sincere and grounded common sense. The adult cast of Jessica Hynes, Aisling Lotus and Simon Manyondo register a palpable unease; on press night, child actor Sophia Ally was remarkably assured and inquisitive as young Joan. In between scenes, Young Joan is shown peering into a lorry, carrying a work box or transporting a Kalashnikov.
Of the small cast, I was most taken with W1A star Hynes, here watchful and defensive as the aunt who refuses to acknowledge the horrors around her. That’s how prescient a playwright. This girl, Joan, is frightened.
But anyone watching Lyndsey Turner’s spine-tingling revival of this masterful work is probably in denial if they think it really does feel far away. She is as far as I'm concerned, at least in terms of pushing boundaries (Stoppard and Bennett don't begin to compare). We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. Twenty years after its first outing at the Royal Court, when it was staged by Stephen Daldry (didn't he do well? We have noticed that there is an issue with your subscription billing details.
The joyful designs — ice creams, paint pots, teddy bears — jar with the human despair on show. Simply enter your email address in the box below. This short, shocking play begins in a cosy rural cottage where a little girl called Joan (Sophia Ally on press night) is having trouble sleeping. Tickets: 020 3282 3808; donmarwarehouse.com. In times of stress, blame the traitors. Lyndsey Turner, a Donmar regular (especially of plays by Brian Friel) has previously proved her credentials with Churchill at the National with productions of Top Girls and Light Shining in Buckinghamshire, directs with a masterly intensity; every beat is meticulously measured. But if the content of the play is an escalation of the bizarre, the patterns of thought of the handful of characters are disturbingly familiar. It's unrealistic, increasingly surreal, but also resonant. Sam Marlowe.
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