13, National, Olivier Theatre

13, Mike Bartlett’s new play at the National Theatre is not the best show to see if you suffer from nightmares already, which I do... it is intended to scare. Set on an intimidating stark stage, it is another dreary morning in London: students are rioting, war is looming and everyone is waking up from the same identical haunting dream, but no one knows what it means.

Most obvious to me is the similarity of 13 to Bartlett’s earlier work, ‘Earthquakes in London’ which received rave reviews last year in the National’s Cottesloe Theatre. 13 feels like yet another play depicting the discontent and gloom of modern society, showing London to be a depressing well of misery and debating the political unrest for far too long. But whereas Earthquakes in London was slick and illuminating, 13 doesn’t say anything very new.

After a fast paced and eventful first half, the second half is weak and dull in comparison. Focusing solely on the impending war, the other issues thrown up at the beginning are left unaddressed and unanswered. We are left watching a stale and dragging political conversation and I walked away feeling dissatisfied and disappointed.

I went to the first preview so allowances must be made for some imperfections and the cast mostly acquitted themselves well. Adam James is suitably self involved as Mark the disillusioned lawyer, he is distracted by the recurring nightmare and desperately searching for an explanation, his rapidly escalating terror is captivating to watch. Lara Rossi as student Holly is memorable, she strides about the expansive stage and looks at home at the National. Terrifying, frank young Grace Cooper Milton is astounding as Ruby, despite being the only child in the cast she, at times outshone her onstage parents with her convincing tone and presence.

It is a big cast and a challenging play to produce for director Thea Sharrock, but I feel her vision just isn’t as inspiring as Rupert Gould’s impressive production of Earthquakes in London. It is also not helped by the vast stage, the Cottesloe's scale added to the impact of Earthquakes, here in the huge Olivier all the intimacy is lost.

13 Continues until 8 January, 2012, book here.

The Pitmen Painters, Duchess Theatre

When I walked into the Duchess Theatre to see The Pitmen Painters, I had no idea what the play was about. I assumed from the title that art and painting would have a major role but aside from that I didn't know what to expect. On press night the theatre was full and had a real buzz, obviously everyone else was intrigued too.

The Pitmen Painters is set between 1932 and 1947 and documents the lives of a group of working class pitmen who turn to art to learn and escape the harsh reality of their jobs in the mines. With the encouragement of their teacher, they create work that is both sensitive and beautiful; it is a revelation to themselves and the world. Through their own experiences and creations they learn what art ‘means’. I found the story very powerful and moving, a real narrative that translates wonderfully to the stage.

We were in row B, very close to the stage, so close my neck ached by the interval, and the fountains of spit from the energetic and angry actors were not far from our faces! Though the real Pitmen Painters consisted of over thirty members, writer Lee Hall focuses on five men to depict, characters that are all based on their historical namesakes.

After hearing so many dodgy accents recently, I was delighted by the cast of Pitmen Painters who all seem totally at ease with the Geordie accent, it is believable throughout. The acting is superb, each and every man seems totally involved in the play and manages to balance the feelings of enthusiasm and confusion towards the new found interest. Trevor Fox is astounding as the most talented artist, Oliver Kilbourn, his nuanced performance is very affecting and made me feel both joy and sorrow with him. Joe Caffrey expends endless energy as the sniffling grumpy WEA union official, though convincing and hilarious he shouts perhaps a little too much. Ian Kelly strikes a contrast with the pitmen as the posh uptight art teacher who is initially perplexed by the men but gradually becomes devoted to them and their work.

I felt genuinely sad at the end of the play when, despite all their efforts and exhibitions these ‘Ashington Painters’ remain unknown and their artwork seemingly forgotten, hopefully this play will help to revive interest in these talented heroes.

The Pitmen Painters continues at the Duchess Theatre until 21 January, 2012. Buy tickets here.

Miriam Nabarro: SE1 9PX Hidden Corners

Miriam Nabarro is an artist working in theatre design, photography, printmaking and textiles. Some of her insightful photographs of the space surrounding The National Theatre are currently on show there, titled ‘SE1 9PX: Hidden Corners’. In this exhibition Miriam explores all the unknown parts of London’s premier theatre. Often these areas are out of bounds to the public or are only the domain of the technicians, actors and artists who work in the theatre. Nabarro’s images provide a backstage tour.

Sometimes the photos appear abstract, especially when they show buildings and walls. Although you can identify certain clues. The Independent on Sunday comments that: ‘Nabarro’s remarkable pictures go behind the scenes to reveal the dramatic inner workings of the National Theatre... her photographs... fill the glossy squares with lustrous colour that seems appropriately theatrical.’

In these photographs Nabarro captures the effects of time, and the marks that different creative influences have made on the theatre. Sometimes this translates into gritty, dirty images, while others are quite beautiful and serene. I particularly like the pictures of the dramatically lit rehearsal rooms and stage. One is left to imagine what amazing things have been created within the walls that here display only emptiness and silence.

Visit her website here.