With the Old Vic a London institution, what’s its little sister down the road playing at?
For two years it’s been out of service, under construction. But the Young Vic is back, and as artistic director David Lan says, “we promise not to go away again”.
Lan has led the £12.5 million rebuild of the theatre and oversaw the Walkabout season while the theatre was closed. From the plays, to the atmosphere, it’s clear that casual glamour, innovation, and access for all are all high on its list of aims, and a recent visit proves that it’s been worth the long wait.
Originally an offshoot of the 1960s Old Vic under Laurence Olivier the ambition was to “develop plays for young audiences” and an “experimental workshop for authors, actors and producers”. A new generation of “paperback” theatre made good quality productions available to all at a low cost, and embraced ideals of a classless, open, unconventional art. Built in 1970 on an old World War Two bombsite the company was going strong, but the theatre itself was in need of a renovation by the time Lan took the reigns in 2000. As their website proclaims, “an idea, and a building” is what it’s all about. And after the rebuild, the architecture is primary.
The new building is contemporary warehouse style, built around the auditorium, with a very grown up open plan bar/foyer area: perfect for a pre-theatre meal, or hobnobbing with the actors post-show. It feels more New York than London, with exposed brick walls, double height ceilings and industrial overtones. A tempting black door at the back of the bar area has BACKSTAGE in bold white letters, and doormen patrol the entrance to the increasingly cool streets of SE1.
The intimate Maria theatre, named after theatre designer Maria Bjornson, with its unassigned seating and upholstered bench seats is currently hosting Dennis Kelly’s production of Love and Money – a very modern take on an old theme. First performed at the Royal Exchange in Manchester, it’s part of a reopening season that promises a lot, and looks set to deliver. The set is impressive in its apple-mac minimalism, and the actors manoeuvre craftily made white props including an illuminated fish tank, bed, and tables and chairs, from cupboards and draws hidden in the walls. The play doesn’t rest on these visual gimmicks – the opening scene features a captivating monologue from John Kirk, and the direction from Matthew Dunster is strong. Catherine Tate-style overlayed conversations are expertly delivered by the cast of 6, and although the script becomes less clever and more didactic towards the conclusion it’s a really great performance with an interesting cast. Unlike a lot of theatre it avoids hitting you in the head with the story and metaphor, and the subtlety of its jigsaw-like plot structure is refreshing.
Programmes are slickly designed to look young and funky, and on sale for the bargain price of £1.50 by roving ushers, before and after the show. With the typical cast bios and ads, the programmes also include essays on the theme of love and money from economists Andrew Oswald and Evan Davis. A nice touch that carries out the theatre’s aims of making plays relevant and accessible to everyone.
Meanwhile in the main auditorium, Wild Lunch is running lunchtimes until 1 December, featuring eight new writers featured over a couple of weeks and a meal deal that surely cannot be beaten – £10.50 for lunch and the play. The Enchanted Pig takes over on main stage from 1 December, based on a Romanian folktale, performed by the Opera Group.
The New Year boasts a series of classic Brecht as well as an adaptation of DBC Pierre’s Vernon God Little, so the Young Vic is putting on quite a show.
As their mission states: “We aim to create and present great productions of the great plays of the world repertoire to audiences of all ages and backgrounds; to nurture the talent of younger theatre professionals; to develop a love of theatre amongst young people.” The new Young Vic is working hard at school programmes through their Teaching, Participation and Research department, workshops and festivals, as well as schemes and awards like the Genesis Director’s Project, the Jerwood Award for directors, and the Young Vic Award for inspiring young theatre.
A thousand different discounts on ticket costs mean that price could never be a reason for not attending – right down to free tickets for local schools, and Two Boroughs, which gives free theatre visits to local residents of South East London.
The Young Vic was founded on decidedly idealistic and egalitarian grounds. It’s nice to see the theatre hasn’t outgrown these aims. The Young Vic is back, adventurous and bold, bringing theatre to anyone who’ll visit.
Love and Money runs until 16 December 2006.
The Young Vic is on The Cut in SE1, London.
