| A Look-back and Guide |
At Company of Sirens |
| Company of Sirens , Theatre of Wales , March 14, 2025 |
“In-Yer-Face Theatre” was idevised by Aleks Sierz for the title of his book for Methuen in 2001. Sierz followed a strand of theatre that made itself distinct from the main current of new writing. Rooted in the expressionist rather than naturalistic tradition its writers and proponents favour prefer gestural force over psychological nuance, situational starkness over plot density, heightened expression over colloquial mimesis. In the theatre of Wales Chris Durnall has been the director most consistent in its making and representation. The strand of theatre embraces such as Nick Grosso, Anthony Nielson Martin Crimp, Sarah Kane, Philip Ridley. Reviews of productions by Company of Sirens: 2025: “Water Wars” “Water Wars” is an expressionist blast of public themes that does not always make for easy watching. A historian of Wales once at the Hay Festival deplored the using of history as a communal comfort blanket. So too, in a culture that is richly varied, a strand of theatre that whips away the comfort blanket is a sign of good health.” 2023: “A Beautiful Rhythm of Life and Death” “Company of Sirens have worked their magic once more, and never is this clearer than in the exquisite closing scene...an effortless coda that leaves Dorothy at a moment of pure synthesis. It is a slip of linen on the breeze; a single sustained note, that carries on even when darkness falls.” 2022: “Stone the Crows” “The play is beautifully staged in the round with a leaf-strewn forest floor...Tim Rhys's script shimmers with tension and beauty while actors Boo Golding and Oliver Morgan Thomas deliver hypnotic, impassioned performances. Golding's increasingly frenzied delivery is thrillingly deranged, while Morgan Thomas perfectly embodies cool hatred and lack of empathy. Threaded through it all is Eren Anderson’s sparse, spookily beautiful live music accompaniment...It's a superb achievement from Cardiff-based theatre company Company of Sirens" 2018: “The Wolf Tattoo” “Company of Sirens also looked to explore the potential of physical non-verbal language throughout the production and this is achieved in style, with the incorporation of sign language into the proceedings....superb work from all involved.” 2017: “The Nether”” “Chris Durnall also stars in the piece as one of the detainees, but it’s John Rowley (as Sims, creator of The Hideaway) and Stacey Daly (as Detective Morris) who really shine. Rowley’s measured delivery makes Sims that much more sinister, while Daly shows great emotional range as the symbol of justice.The cast never leave the stage, merely retreating to a corner to wait for their next scene. Like the audience, they become omniscient voyeurs in this disturbing world.” 2016: “Bash” “In Medea Redux a young women, played with a profound and delicate beauty by Stacey Daly takes us first into the innocent delight she enjoys as a thirteen year old, as one of her teachers starts to groom her towards the inevitable outcome. The handsome young teacher, who we do not see, spends over a year working on his target. All this time he continues to thrill his young conquest. So clearly are Daly’s reminisces that we feel the gentle caress of his lips on hers and her body shake to his embrace.” 2015: “Dark Vanilla Jungle” “See this remarkable, unmissable performance now! Seren Vickers, a second year student at the Royal Welsh College of Music and Drama is only about to leave her teenage years behind but she gives the most, captivating, strong and charismatic performance as the besieged teenager, Andrea in this extraordinary, award winning, troublesome, play by Philip Ridley.” 2014: “Tender Napalm” “Tender Napalm is the second of two plays by Philip Ridley being given their Welsh première by Company Of Sirens. Following on from Mercury Fur, it is another disturbing piece, although in this case, the violence remains purely fantastical.As we enter the arena, a couple, dressed vaguely in rags, are already in place, wandering around Bethany Seddon’s spare set, comprised of two chairs, with the playing space bounded by white curtains. The unnamed woman sings a song whose tenderness, it quickly transpires, is uncharacteristic.” 2013: “Troyanne” “Director Chris Durnall marshalls his resources with skill and sensitivity; Dan Lawrence’s sound design is especially clever, every element—a barking dog, gunshots, emergency sirens—seamlessly synchronised with the text. Jane Lalljee’s lighting effects are also highly effective, especially at a crucial, climactic point.” 2012: “Stitching” “This is the Welsh premiere of Stitching, first staged in Edinburgh and London in 2002; director Chris Durnall and actors Nathan Sussex and Stacey Daly obviously fell in love with the author's uncompromising take on the interpersonal when working together on The Censor a couple of years ago. This production is in the round, and Jo Hughes's set is minimal: two split-level tables in opposite corners of the space with a chandelier constructed from emotive photographs suspended from the ceiling.” 2010/ 2011: “Sean Tyrone” “Cardiff based Irishman and playwright Mark Ryan has given us an intriguing, beautifully crafted poetic play; young John O’Brien’s life-odyssey, a path many of us take and maybe arrive at the same ending but hopefully with a much less troublesome journey.” 2009: “The Censor” “Nathan Sussex is without doubt one of the finest actors working in Wales today. He is also strongly support by Stacey Daly and Julie Barclay who present us with well defined characters drawn more from their own imaginations than from the dialogue they have been provided with.” |
Reviewed by: Adam Somerset |
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