posted by Savanah on Feb 27
It is rather refreshing and even a bit delightful, although it feels a bit contrary, to think that there’s another Churchill that immediately comes to mind when we think of London now. Perhaps it shoud be a bit contrary, when the other person is Caryl Churchill. She’s been writing plays for a few decades now, and the idea that she’s still writing new work is reason enough to go to check into a hotel in London and start waiting right now.
When she comes out with a new work, it is a very big deal, and she’s been so very prolific all her life that there are lots of opportunities to enjoy these big deals. Maybe enjoy isn’t the perfect word, because although her plays do offer a certain pleasure, but they can also be very tough. One of the last productions I saw by her was a version of the Skriker, and it was an astounding and riveting evening of theatre. But it was also incredibly disorienting, being about mad faeries that haunt two women in London. This was her most fantastical work, in the pure sense of the term, but by no means unexpected.
She has had quite a career. Her first writings that got attention were radio plays in the 1960s, and even in these first works, we see a profoundly developed sensitivity to the forms of drama, coupled with an enormously astute critique of the world at large, but London social norms in particular. She moved into plays, working with the Royal Court Theatre, and then the Monstrous Regiment, where she developed a collaborative way of constructing her remarkable works. They continue to serve the audiences with an enormous wit, deep intellect, and a profound sadness that makes her the logical successor to Bertolt Brecht.
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