NEWS
Martina Laird currently on at the Royal Court in Who Cares
Martina Laird(right) and Eileen O'Brien (left) in Who Cares at the Royal Court. Photo by Tristam Kenton
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4 STARS The Times Dominic Maxwell ‘Inspiring drama with brilliant cast’ ‘What this smartly staged and brilliantly acted production by Debbie Hannan, Lucy Morrison and Hamish Pirie does manage, though, is to both evoke and address the emotiveness of the issues.’ ‘The cast switch characters through these 90 minutes, but their bedside manner is always exemplary.’ For more info visit www.royalcourttheatre.com |
Martina Laird in Who Cares. Photo by Tristram Kenton
Martina Laird at the Tricycle in the UK premiere of The House That Will Not Stand
Photo by Tristam Kenton for the Guardian
“You may be the wealthiest colored woman in New Orleans but you built this house on sand, lies and dead bodies.”
New Orleans, 1836. Following an era of French colonial rule and relative racial acceptance, Louisiana’s ‘free people of color’ are prospering. Beartrice has become one of the city’s wealthiest women through her relationship with a rich white man.
However, when her partner mysteriously dies, the foundations of freedom she has built for herself and their three unwed daughters begins to crumble. Society is changing, racial divides are growing, and as the household turns on each other in their fight for survival, it could cost them everything.
A bewitching new drama of desire, jealousy, murder and voodoo.
The house that will not stand is directed by Indhu Rubasingham. It was written by Marcus Gardley who was awarded the 2011 PEN/Laura Pels award for Mid-Career Playwright. He is the recipient of a Helen Merrill Award, a Kesselring Honor, the Gerbode Emerging Playwright Award, the National Alliance for Musical Theatre Award, the Eugene O’Neill Memorial Scholarship, and the ASCAP Cole Porter Award.
Excerpt from the website of the Tricycle Theatre
New Orleans, 1836. Following an era of French colonial rule and relative racial acceptance, Louisiana’s ‘free people of color’ are prospering. Beartrice has become one of the city’s wealthiest women through her relationship with a rich white man.
However, when her partner mysteriously dies, the foundations of freedom she has built for herself and their three unwed daughters begins to crumble. Society is changing, racial divides are growing, and as the household turns on each other in their fight for survival, it could cost them everything.
A bewitching new drama of desire, jealousy, murder and voodoo.
The house that will not stand is directed by Indhu Rubasingham. It was written by Marcus Gardley who was awarded the 2011 PEN/Laura Pels award for Mid-Career Playwright. He is the recipient of a Helen Merrill Award, a Kesselring Honor, the Gerbode Emerging Playwright Award, the National Alliance for Musical Theatre Award, the Eugene O’Neill Memorial Scholarship, and the ASCAP Cole Porter Award.
Excerpt from the website of the Tricycle Theatre
Martina Laird as Beatrice in The House That Will Not Stand with Tanya Moodie as Makeda. Photo courtesy the Tricycle Theatre
Martina Laird discusses The House That Will Not Stand And Fairer Representation For Black Actors in an interview on the website Black Ballad
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Martina Laird and Tanya Moodie in rehearsal for The House That Will Not Stand. Photo courtesy the Tricycle Theatre
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Listen here for Martina's radio interview on Radio Gorgeous about The House That Will Not Stand. Interview begins at 6:11.
During rehearsals for The House That Will Not Stand. Photo courtesy the Tricycle Theatre
Martina Laird for 2014 national tour of Moon On A Rainbow Shawl
Martina Laird returns as Sophia as Talawa joins forces with the National Theatre to take Errol John's 'bruising, brilliantly witty play' (Time Out) on tour after its critically acclaimed run in London in 2012, once again directed by artistic director Michael Buffong. - See more here
Critical acclaim for Martina in her role as Sophia in Moon On A Rainbow Shawl
“In a scrupulously unsentimental performance of riveting detail, Laird not only shoots looks of disapproval like arrows, she makes Sophia the heart and conscience of the entire community populated by more than its fair share of hangers-on…However, it is Laird, as Sophia, who holds together not just everyone's lives but the whole play. In a performance that makes you long to see her in Chekhov, she makes you feel extreme tiredness and forgiveness without ever emoting or opting for mere display.” David Benedict, Variety
“.....heroically keeps things together, combining sharpness with heartbreaking devotion.” Heather Neill, The Stage
“But it is Martina Laird's performance that will linger the longest ....” Miriam Gillinson, The Ham and High
“The strength and dignity she exudes anchors the text and her resilience in the face of trial and tragedy are deeply moving.” Stewart Pringle , Forest Fringe
"There is an outstanding performance from Martina Laird as Sophia who has a tongue that could flay a man alive....” Sarah Hemming, The Financial Times
“...witty, impatient, warm, scolding....She brilliantly does the cruel, wrenching moment of self-doubt, too:...” Libby Purves, The Times
“Miss Laird is super as tired, dignified Sophia.” Quentin Letts, The Mail Online
“Laird makes use of every second she has on-stage and it feels like one could read the entire play in her eyes.” Miriam Gillinson, The Wharf
“.....heroically keeps things together, combining sharpness with heartbreaking devotion.” Heather Neill, The Stage
“But it is Martina Laird's performance that will linger the longest ....” Miriam Gillinson, The Ham and High
“The strength and dignity she exudes anchors the text and her resilience in the face of trial and tragedy are deeply moving.” Stewart Pringle , Forest Fringe
"There is an outstanding performance from Martina Laird as Sophia who has a tongue that could flay a man alive....” Sarah Hemming, The Financial Times
“...witty, impatient, warm, scolding....She brilliantly does the cruel, wrenching moment of self-doubt, too:...” Libby Purves, The Times
“Miss Laird is super as tired, dignified Sophia.” Quentin Letts, The Mail Online
“Laird makes use of every second she has on-stage and it feels like one could read the entire play in her eyes.” Miriam Gillinson, The Wharf