hang (NHB Modern Plays)

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In 2016, she won an ARIA (Audio and Radio Industry Award) from the Radio Academy for her radio play Lament. Produced by BBC Radio Drama London and broadcast on BBC Radio 4, Lament won the Gold Best Audio Dramatisation prize. [6] Film career [ edit ] Derbyshire, Harry and Loveday Hodson (2008) ‘Performing Injustice: Human Rights and Verbatim Theatre’, Law and Humanities 2: 191–211.

Indeed, when green began writing plays, critics objected to the unconventional rhythms of her language, her sparse sets, and her unorthodox plot structure. Influenced by poets and songwriters, including Ntozake Shange, whose 1974 play, FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/WHEN THE RAINBOW IS ENUF began as a series of poems, green admits that the people she admires write “what they think and feel,” rather than following conventional rules. Marianne Jean-Baptiste (Three), Claire Rushbrook (One) and Shane Zaza (Two) in hang. Photograph: Tristram KentonJean-Baptiste, who clutches at her handbag like a lifebuoy, is magisterial: wounded and internal and then angry and lashing out"

Programmes – Discovery – Second Coming". Archived from the original on 5 June 2015 . Retrieved 5 June 2015. There is an excellent dynamic between the three performers. Despite their feigned compassion for Williams and her situation, Goldsmith and Ashdown’s repeated slip-ups strike an excellent balance of humour and tension. Williams is exceptional throughout, simmering with rage and refusing to placate the women in front of her. Though reluctant to appear vulnerable or unsure, the pain in her voice as she cryptically recalls her trauma and its profound effect on her family is gut-wrenching. Director Kolbrún Björt Sigfúsdóttir is not afraid to home in on the play’s disconcerting nature. There are often moments of uneasy silence, particularly as Williams makes her decision official by filling out scores of paperwork. Amplifying this unsettling atmosphere is Alisa Kalyanova’s set design paired with Benny Goodman’s lighting. Clinical in nature, the strobe lights, white floors, and plastic chairs are all cold and unwelcoming. As Williams becomes more agitated, the glitching lights and Tom Oakes ’ subtle but destabilising soundscape intensify the situation, and it seems to only be a matter of time before Williams implodes.Claire Rushbrook and Shane Zaza grasp the hitches and rhythms of the text, as a pair of white-shirted officials, neither without compassion, but Marianne Jean-Baptiste is nothing less than astonishing in her unswervingness, in her damage, in the way she radiates"