Download Love conquers all - Nottingham Playhouse

Love conquers all,
For those who may rise,
And those who may fall.
For when sentiments are so sweet and new,
For when worries are only few.
But to make a fresh start,
Should it cause them to part?
A secret too demanding to keep,
The fear within starts to creep.
To forget the one that means so much,
No alternative but never lose touch.
Arguments and conflict commence from here,
But inner strength prevents even a tear.
The responsibilities had begun to rise,
For the home is where the heart truly lies.
A comforting figure, a hand to hold,
Too many stories now remain untold.
White envelopes: behind doors, left aside,
With nothing left to lose but, her pride.
A Swedish beauty, a tall blonde,
Someone of which he was very fond.
Betrayal and lies although hope still exists,
A tale with no resolutions, only a twist.
A life of grief and turmoil,
A life of regret descending down and infinite coil.
A life of unhappiness and bewildered emotion,
A life of search for a forgiveness notion.
She sits surrounded by blinding lights,
Her days become a struggle, a fight.
He lives to put the wrong to right,
One day, forgive she might.
As love conquers all,
For those that who may rise,
And those who may fall.
Lorna Flint, The Minster School
you asked me to write a tune all about the things that go wrong
Dominic wasn't blind. He knew that the relationship he had with Amy wasn't the perfect fairy
tale that every other couple around them seemed to have. He knew he did some things wrong
– hell, he did a lot of things wrong. He shouldn't have got as angry as he normally did. The
kids would probably have benefited from him being around more often too. If only he wasn't to
focused on his god damned career then maybe, maybe he wouldn't have wound up with Miss
Sweden 1992. Maybe Him and Amy could – would – have worked it out. Maybe.
and then you asked me to come home soon to the place where I belong
He knows he should have done it. Amy was always right. The countless times she told him to
come home early for a change or to, god forbid, take the weekend off so that he could spend
more time with his family.
Looking back on those fights now, he was foolish. That was all she wanted from him. To
simply spend more time where he was needed not where he was wanted. Dominic seemed to
get those two words mixed up on one too many occasions. “Oh but Amy! They need me at
work!” he'd shout at her. It really should have been him shouting at the bosses in the office.
“Sir! My family need me at home!”. What was his career anyway?
He'd have given it all up just to spend one day with Amy and his kids. No arguments, no
mobile phones getting in the way – just them, as a family – having fun.
but I know when I close my eyes, late at night, there's only one thing the night's shown, it's
your face
He remembers the night he got the phone call like it was yesterday. The red LED illuminated
display on his alarm clock was the only light filling the room. His new wife, had flown back to
Sweden for a film premier.
Dominic had, for once, decided to take a leaf out of Amy's book and stayed home with the
kids. Taking a look at the clock, he saw that it was around four am. He'd been awake since
the kids had gone to bed – which was about eleven the night before. For an hour he'd tossed
and turned, trying to sink into a slumber for the night – but to no avail. He had too much on his
mind. He hadn't heard from Amy in a while. Normally she'd call in once or twice during the
week the kids spent with him. They'd been here for four days now, and he'd heard nothing.
Not even an answer phone message. Of course, he wouldn't admit this to anyone, but he was
worried. She wouldn't have done anything – stupid would she? He thought they were getting
along fine – no – they were getting along fine. Almost better than they were when they were
together. It was this worry, filling the pit of his stomach that wouldn't allow him to sleep. He
tried not to think about it, but when he did that, the pit would only grow bigger, engulfing more
and more of his emotions. Then the phone rang. Quickly, he picked it up, not wanting to wake
the children. “whoever you are, and whatever you're calling about, it better be important..” he
growled angrily into the receiver. “I'm sorry.. is that Mr Tyghe?” the voice of a timid woman
came from the other end of the phone. “yes, what is it?” he asked, not really interested in
what she had to say. “it's.. it's Amy Mr Tyghe.. She's been in an accident..”
what do you want me to say? all I know is love - it's okay
The next few hours were all a blur for Dominic. He pushed himself out of bed in one smooth,
fluid movement. Pulling on the trousers and shirt that were still left on the floor from
yesterday, he dashed from the room, scribbling a quick note on the door for the kids when
they woke up. 'Got called to work, be back soon' was all it said. He figured they'd much rather
think that he'd gone to work than to see their mum – a mum that probably didn't have much
longer to live. Jumping every other stair as he ran down them, he pulled on a pair of trainers,
grabbed his keys and hurried out to his car. Soon, he was driving through the
streets of London, which were thankfully quiet at this time in the morning. Pulling up outside
the hospital, he jumped out of his car. Looking back he noticed the car was on double
yellows. Quite frankly, at this moment in time, he didn't care. Reaching reception, he stopped.
“Amy Thomas.. where is she?” he asked desperately. “who would you be sir?” the receptionist
asked, not noticing the angst he was clearly feeling.
“I'm her husband-” he stopped, internally kicking himself for the blunder he just made. “exhusband rather..” the receptionist sighed, typing her name into the computer in front of her,
tapping her fingers as she waited for it to load. “ah, he we are..” she started, still sounding as
though she was watching paint dry for a living. “ward 57.. room twelve..”. Dominic didn't even
let her finish speaking. With that he was off again, racing through the hospital, trying to reach
Amy before it was too late. Finally, he reached her room.
Pushing the door open he looked inside. A doctor was standing over her, shaking his head
sadly. “I'm sorry
Mr Tyghe, he injuries were just too severe..”
Dominic felt as though the wind had been knocked out of his lungs. He couldn't quite believe
this was happening – just as everything was finally starting to get better. He stepped back out
of the room and sank down against the wall outside. He placed his head in his hands as one
single tear slipped down his cheek.
His children would have no mother, her mother would have no daughter and he'd have no
best friend. The one thing that hurt him the most, was the realisation of one single fact.
The fact that it was only now he realised that he would always love Amy.
Lyrics used as headings come from the song, Amy's Song, by Joshua Radin.
Ellie Murphy, The Becket School
Evelyn’s View
She’s a pretty lady. I think I’ve seen her before in a photograph, although her eyes are kinder
in real life. She reminds me of Esme but she’s too old and she told me Bernard’s dead. Esme
wouldn’t lie. Why would Bernard leave me and his paintings and Amy?
Amy visits sometimes. I can’t tell how often because I sleep a lot nowadays, well I suppose
you would call it sleeping because I don’t talk or move or think of much for a while but my
eyes are open. Then I wake up again and Amy’s either there or she isn’t. Usually she brings
along a little girl and a boy. I like the sound of their laughter and the boy looks like a young
Bernard.
Apart from his hair, it’s the same as the man with the sunglasses. He always holds a small
black box to the side of his head and talks very fast to himself. Then he shouts at the Esme
looking lady which makes me sad so the bald man gives me a drink. It tastes nice but it burns
my throat and because it goes so quickly I can never remember the colour of it.
Bernard liked colours.
Sophie French, The Becket School
Amy
I could not think, yet willed myself to focus on the clock on the wall. The raindrops fell
sporadically as I clasped the locket Esme had given me years before, a present passed down
through generations. It was the middle of summer, yet it felt as though we were shrouded by
winter, the sunlight ebbing away as the day came to an end. I had no control over my tears,
which was surprising as I had felt no such emotion prior to now. I was startled as Evelyn
suddenly shrieked Bernard’s name, gripping her wheelchair as her body gave way to violent
convulsions. Should I ring an ambulance? Moments passed yet the convulsions would not
stop, her frail arms thrashed the sides of the wheelchair and her face was contorted through
fear and imminent pain. Where’s Bernard? Help me, help me, please. I gave up on reminding
her of Bernard’s death, her Alzheimer’s had claimed her memory and shattered it into
fragmented pieces as though they were shards of glass. Who are you? Evelyn, it’s Amy. I felt
helpless kneeling by her wheel chair, observing her as she shook and rocked, thrashing arms
and legs indicating some form of seizure.
Are you Amy? Yes Evelyn, it’s Amy. Who are you? Get out of my house! I SAID GET OUT.
The tears stained her vision as her arms flailed in an attempt to grab my neck. Evelyn, stop,
it’s me. My fingers tightened around the medicine bottle; it was now, or never. As I swallowed
the lethal dose, adrenalin surged through every inch of me, reducing my limbs to an
uncontrollable shaking wreck. As I closed my eyes, the pain enveloped my body into a
nauseous unconsciousness, is this what dying felt like?
Amy? This time I could not summon the energy to speak, I could only flicker my eyes open to
stare up at her, looming over me. What has happened to you? What have I done? WHO DID
THIS? She kissed the top of my head, her tears soaking my hair. It was that moment, I could
not feel anything any longer and decided not to grip onto the last of my consciousness.
Esme
The doctor told me she was already dead, yet I couldn’t bring myself to believe it. I shrugged
off the haze of sleeplessness and sipped my coffee as an attempt to stay awake and vigilant
by her hospital bed. “I regret to inform you that Amy has passed away, madam, I do believe
her death was instant so she wouldn’t have felt any pain, if there is anything I can do to
help...” The doctor whittled on, unaware I had stopped listening several minutes ago. I smiled
at her as she gently slipped away, darting past Dominic as she hurried towards the door. I
always imagined I would cry at times such as these, but no tears came. Dominic on the other
hand was slumped against the doorframe, haggard and unshaven, tears flowing down his
cheeks, his teeth clenched. Amy’s words rung in my head, you never liked him mother, you
never wanted us to be happy...
“Dominic, do sit down. It’s no good standing by the door like that, you’ll get tired.” He hastily
made his way to the leather chair, as if to follow my command. He ran his fingers through his
unwashed hair, gripping his head as if in disbelief for countless minutes, whilst gradually
tapping his feet louder, and louder.
“Dominic, love, do you want a coffee?” My sudden words appeared to startle him, however he
nodded in acknowledgement. “I’ll pay, dear.” At this he shook his head, and fumbled in his
bag for his wallet, yet to no avail. I laughed gently and whispered “Have you forgotten how to
speak?” As I walked towards the door his meagre voice resounded through the room, barely
above a whisper.
Cait Anne May Ramsden, The Becket School
500 000 pounds. 500 000 pounds worth of debt. Five hundred thousand pounds. I have to
keep saying it, otherwise it won’t sink in. My mother, the one who could supply me with five
thousand without a second, now owes that much! Maybe even more…
And what’s worse is the man who caused her to be in this mess is living in her house, is
drinking her alcohol, eating her food, and looking after her mother in law. It’s not right. How
can she live with him? After what he’s done? After he was so careful with his own money, and
plain careless with hers? Can’t she see that?
But of course, she won’t listen. Says she’ll be fine. That’s why I had to leave, I had to get out
of there. I went to her to talk, something which I was afraid of doing, and I know now that I
had every reason to be afraid.
Dear Lord, what is happening to me? To my life?
Bronwen Webster, The Bluecoat School
Amy’s View was the first play I’ve ever seen that wasn’t a bit Shakespeare or a single bit
musical. It was awesome. Being a newbie to this aspect of theatre, I realised that my
presumptions of what can be known as a “straight play” were somewhat off course. If I’m
honest, I dreaded coming to see Amy’s View, as it wasn’t a comedy (comedy is basically all I
know) but was pleasantly surprised at how easy it was to become engrossed in the plot and
the characters’ lives, in particular the three women.
One of the amazing things about Amy’s View is that there are three strong female parts,
which is uncommon in theatre (or so I have heard). All three of these women are developed
characters, who, without revealing too much, all come to dreadfully tragic, yet believable
ends. There is Amy (Kirsty Besterman), the youngest, a woman who marries a man interested
in the media, who later becomes a highly successful director. There is Esme (played by the
wonderfully stage-present Julia Watson), Amy’s mum and passionate actress with a happygo-lucky approach to both life and relationships. Lastly, there is Evelyn, Esme’s mother-inlaw. She spends most of her on-stage time asleep after the interval, but her more active
scenes are priceless.
The direction of the Nottingham Playhouse’s Amy’s View is directed by Zoe Waterman, a
talented young director who obviously has a prosperous career ahead of her. The use of the
scene change in between acts three and four is the one scene that will stand out to anyone
who sees this play. But you’ll have to go and find out what makes it so special for yourself.
Wonderfully directed, acted and written, Amy’s View is a well-rounded, loveable story, laden
with twists and turns to make even the most laidback of audience members an avid theatre
lover.
Sally Morton, The Bluecoat School
Nottingham Playhouse's latest production, Amy's View by David Hare, explores the
challenges women face with family, love, and loss. Set in a corroded 1980's England, director
Zoe Waterman creates a truthful experience of the struggles of family life over a broad sixteen
years. Although the play is full of domestic arguments and dramatic events, Waterman
manages to keep the audience hooked throughout as the tension builds, without
disappointing at the mournful end. Bronia Housman's homely set is instantly warming and,
like the lighting used, hugely supports the feeling of comfort the audience needs so they can
believe they are in somebody's home. Most of the attitudes of the strong-minded characters
were brought across well by the talented cast, in particular Robin Bowerman. Overall, I had a
very emotional yet enjoyable experience, and would recommend Amy's View to anyone who
is interested in the position of theatre within society, and is looking for an eye-opening
evening of deep thought and emotion.
Beatrice Findley, The Beckett School
David Hare’s Amy’s view is a naturalistic, mature piece of theatre complete with three
particularly interesting, impacting and contrasting central characters. The play’s four acts
span 1979 – 1995 and allow an insight into the life of a middle class young woman (Amy) who
is in a relationship with a would-be film maker Dominic. The play displays the battle between
theatres and television and the theatres reaction to the widely acknowledged sentiment ‘the
theatre is dead’. This conflict is characterised clearly by the relationship between Amy’s
theatrical Mother and Dominic who clash throughout the piece, only resolving their conflict in
the final scene. Julia Watson perfectly portrayed the blasé attitude of Esme, clearly
distinguishable from the mature realistic view of Amy who’s primary view is that ‘love
conquers all’ a line and theme which is reiterated throughout the play. Despite the fact that
the play takes place in the same typical middle class living room for three acts, never
venturing into the world, the world is brought inside and the sixteen year time span creates a
sense of the passage of time and captivates the audience.
The play incorporates issues that are currently appropriate; the financial crisis of the 1980s
seriously affects Esme, the cuts in Arts funding is applying pressure to theatres and most
importantly the ever relevant themes of love and family relationships allow modern audiences
to relate to the play and empathise with the characters. A true and thought provoking piece of
theatre which I very much enjoyed!
Shannon Anstee, Bilborough College
David Hare’s Amy’s View is a play which incorporates aspects of both tragedy and comedy. A
director is therefore aiming to maximise each of these genres to their full potential without
damaging the other, and this adaptation does just that. The funny bits were funny, the sad bits
were sad, and the audience were drawn into the emotions of the characters. The play was
very well acted, with each of the characters shown in both positive and negative lights at
different points in the play.
As the plot of the play is split into four acts, taking place in 1979, 1985, 1993 and 1995, there
is the potential for confusion as each of the characters is at very different stages in their lives
and their relationships in each of the different acts. However here again the potential for
confusion is avoided; not only are the actors skilled in emphasising the different points in time
and in their lives, but the costumes are also effective in distinguishing between the different
time periods. As the characters ‘grow up’ (although we only see them all as adults), their style
of dress alters which is very useful in suggesting both their ages and also the changing styles
of the times from 1979 up to 1995.
Although David Hare is well-known for his highly politically based plays, Amy’s View is more
based on the idea of family (although politics does enter into it in a more subtle sense).
Because of this, the audience is more able to identify with the events and the characters, as
the whole idea of the play is centred around family and their disputes. Because of this, and
the high standard and quality of the acting and directing, the audience is able to identify well
with the characters, what they are going through and what they are feeling.
I thoroughly enjoyed the play as I felt it was well acted, well directed and well executed. I
found myself laughing in parts, and I will admit I did cry a little at one point too, which shows
how well the audience were able to relate to the actors and share in their emotions. I would
definitely recommend this play.
Holly Morrall, Nottingham High School for Girls
This play tells the story of a family of three generations, spanning over an unusual period of
16 years. The play covers a span of powerful themes, including love, feminism, family bonds
and the power of the theatre versus that of the television. The latter is a theme currently being
discussed in the industry and the media, with many people fearing the loss of this art form.
Therefore, I am dedicating this review to the importance of this issue:
Theatre is dead is a powerful belief voiced by Amy’s boyfriend, Dominic, and is an opinion
shared by many. At this point in the 21st Century, with the recession being a popular topic, the
theatre is out of favour with many due to its high cost, whereas the television and the cinema
are much cheaper forms of entertainments. Furthermore, there is a stigma attached to the
theatre where people believe that there is a class notion and sense of elitism connected to
theatre goers and, hence, feel intimated. I can say from experience of being part of Critics
Circle and the Playhouse’s youth theatre that that is utter rubbish!
Modern day life also states that everything must be quick and easy, and going into a cinema
and buying a ticket whenever you so desire fulfils this criteria, whereas having to book tickets
in advance for the theatre is seen as more of a hassle and an inconvenience.
On the other hand, the theatre is definitely still alive as people enjoy live time and the fear of
all the possible mistakes that can occur, knowing the actors only have one chance to make an
impact- there are no retakes! Also, unlike the cinema where everything must be naturalistic,
the theatre can look at something more in depth due to symbolism and other theatre
techniques and convey deeper messages to the audience.
Emotions are contagious (if someone is sad, it is likely that you begin to feel discontent, and
so on and so forth) therefore, you can feel what the protagonists are portraying and are more
empathetic towards the plot. People go to the cinema for escapism; people go to the theatre
to be put through an emotional rollercoaster.
My final point in answer to Dominics question as to why do you want to see someone walk
across the room when you can chop and forward to the result? Simply, because that is what
would happen in real life and is more relatable. We do not need everything to be simplified for
us- life isnt, so why make everything we do simple?
In the words of Esme, Its always the death of the theatre. The death of the novel. The death
of poetry. They death of whatever they fancy this week. Its off to the scaffold with everyone
except the journalists! The question is, the people stating the death of the theatre, have they
ever been to see a play themselves or found themselves in the company of dedicated theatre
goers? The answer is probably no! As long as people are still going to the theatre, studying it
and loving it, the theatre will never bow to the cinema or television and will definitely not die.
Here is to the theatre continuing to flourish!
Anisah Osman Britton, Bilborough College
Despite being written over ten years ago, Amy's view is still a smart and complex play,
remaining extremely relevant. With the new coalition government, lack of funding for the arts
council and, of course, the never ending doom being the recession, David Hares' script
remains painfully up to date. The audience sees the compelling journey of Amy, and her
mother, a struggling actress, Amy, stretching from '79 to '95. We also meet Esme's elderly
mother, and Dominic, Amy's boyfriend, as we see the family go through financial issues,
infidelity, artistic integrity, the evils of the corporate worlds and death. Director Zoe Waterman
presents an interesting and intellectual play, leaving the audience thinking about the issues
raised.
Despite stellar acting all around, my main qualm would be with the ridiculous amounts of
exposition. I didn't want to be told about all the events, I wanted to see them happen. So
many major events happened off stage it was hard to connect with the characters by only
hearing about their issues as opposed to fully seeing them. Furthermore, the character of
Amy didn't come off as all loving and peaceful for staying with her husband. Instead, I found
her insecure and oblivious to the obvious fact: Dominic was not a nice character. It may have
been his portrayal, but the character (and their relationship) came off as highly one
dimensional.
Despite the play dragging on at times, Zoe Waterman directs a thought provoking, intelligent
play with a highly capable cast.
Sarah Ahmad, Nottingham High School for Girls
Rewind...
Put the pills away,
the vodka bottle in the cupboard,
let it gather cobwebs and dust.
Forget about Sweden,
and the happy times with him.
Glue your heart back together,
with sticky tape and chewing gum.
Rip up the white envelopes.
Just walk a thousand miles in your mums shoes,
to learn to dream: dream to learn,
about wonder and excitement,
dazzling lights, shooting stars.
Dreams and Reality
because this isn't the way to go.
Charlotte Winterburn, the Kimberley School
Amy’s view is set in the 1900’s; each scene is set in different years. The first one is 1975. The
second, third and fourth are set in 1985, 1993 and 1995.
This play is about things that were relevant in the time it was written and also things that are
relevant today. The main one is about going to the theatre. One of the characters is very sure
theatre is dead or dying. Also it looks into Lloyds and the problems the underwriters had.
There are only six characters in Amy’s View. Three women and three men. My favourite
character was Amy, Kirsty Besterman, who, I thought, brought some of the best emotion to
the piece. I was a little confused at the ending, when they poured water over each other’s
heads. I was also wondering about Toby’s costume as I didn’t see why he needed to not be
wearing much in the last two minutes of the play. Dominic, although not a nice character, was
a strong one. I could see what Amy saw in him and what Esme saw. At the end, again I didn’t
understand why he was there.
Altogether I thought the acting, the set and costumes were good, the plot line and the end
didn’t quite reach my expectations.
Lucy Daunt- Highfields School
Love conquers all.
At least, that’s Amy’s View.
This November we follow Amy over 16 major years of her life. Through love, through hate and
through loss, arguing one of the most debated questions of the 20th and 21st century; is
theatre dead?
Meanwhile the, ever-dramatic, Esme Allen continues her work as a West End actress and a
loyal mother to Amy, with one big secret. The biggest secret that changes her life forever.
Lloyds of London Bank. The 1990’s. One of the biggest financial scandals of the time. Esme’s
small investment grows and grows.
And then diminishes, leaving her in millions of pounds worth of debt and a family in ruins.
Will Amy’s view help? Or will it simply challenge what she thought she loved most?
With the fantastic director, Zoë Waterman, the newer, re-dated Amy’s View is certain to add
lots to think about to your night, while enticed with comedy and scenes you won’t want to
miss!!
A Definite ****
Kirsty Blair – Friesland School
The Nottingham Playhouse Theatre Company presents Amy's view. Directed by Zoe
Waterman the play runs from Friday 5th November to Saturday 20th November.
Amy's view is about a girl called Amy and the things that happen to her over part of her
life. The play is a love story where Amy finds good and bad things are happening to her. She
is in love with a man who doesn't want children. The play is about how she copes.
The cast was good and everyone played a good part. I liked Amy's Mum, Esme, best.
Julia Watson played a great part as Esme. Her Character made me laugh.
The costumes and set design were very realistic. I liked the set changes. I enjoyed this part of
the play.
I think the play is more for adults than children. I would like to see it again and also any other
plays that are directed by Zoe Waterman.
Sam Brown - Woodlands School
Amy’s view was directed by the young Zoë Waterman with Julia Watson and Kirsty
Besterman. Widely regarded as and piece of intellectual modern theatre, Waterman managed
to create a reasonably accessible piece, without harming the complex meaning of the original
text. The role of Toby, played by Thomas Eyre, was a fine example of how meaning,
character and narrative can pulled out of text, with only the most subtle of hints to go on.
Originally, the character of Esme was intended for Judi Dench, and though Julia Watson did
have some strong scenes, that strength of the part was not held consistently throughout the
play. Kirsty Besterman’s Amy worked well opposite Ryan Early as Dominic, but at times the
subtle aspects in the lines were brushed over all too quickly. Importantly, the risk of over
playing any of the roles was avoided. The dialogue was unconvincing in places, and did break
down the realism of the piece. This was quite annoying in the first half, but as the play
climaxed David Hare’s tendency to load every line made for an intense theatre experience.
During final scene, when the set magnificently dematerialised to reveal a vast performing
space, it became fairly clear that this had been Brecht, masquerading as realism all along,
and that this was one of the most intelligent pieces of theatre I had ever seen.
The practical difficulties involved in producing and directing such a intellectually complex
piece have been overcome with style, and this piece has broken dramatically with what has
been an overwhelmingly fun loving season. A piece of theatre so reflective about the use and
point of theatre was a brave choice, but ultimately the quality of the piece justifies the risk,
and set up the faithful for “forever young”, another fine piece of reflective theatre, early next
year.
Timothy McConnell- Chilwell Comprehensive
This play set over four different years follows the story of Amy, a young woman working for a
publishing company, her boyfriend, Dominic, who becomes her husband after they find out
she is pregnant and Amy's mother, an eccentric theatre actress who has it in for Dominic from
the moment she meets him. Although the play has four acts, each at a different stage in the
character's lives, it does not at any point get tedious and different emotional and philosophical
views are explored to good effect.
The set did not change throughout the play except for in the final act even though years had
passed each time yet this wasn't a bad effect, it enhanced the changes and issues with the
characters rather than seeming cheap. This was definitely aided by the fact that the set itself
was very interesting and not boring to look at, it also succeeded at creating the feeling of
being in someone's home and it gave off a comfortable feeling for the audience. There was a
scene change in the final act that was very powerful, it wasn't made to be discreet and this
gave a surprisingly poignant effect as well as tying in with the story in a way.
The acting in this play was very skilful; the characters were portrayed to the audience in a
seamless and utterly believable fashion by the cast, an aspect that was vital to the success of
the play. Each actor held their own and it was very hard to distinguish one that stood out as
the standard was excellent across the board. The high quality meant that the audience was
gripped throughout, there wasn't a dull moment.
Overall, this play was of an amazingly good standard in all aspects and is definitely worth
going to see, it is original, unexpected and interesting.
Erica Wallis- Nottingham Academy
Amy’s View is a play divided into four acts which stretches through a period of sixteen years,
having the main themes of love, loss, women and family. Judging on the cast’s performance
and the way they worked together, director Zoe Waterman has clearly done a good job at
putting the play originally written by David Hare on the stage.
Firstly we are introduced to Amy, a naïve young women who is in love with Dominic, a
hopeful film maker. We then meet Esme her mother, who lives with her rather unconventional
mother-in-law Evelyn, when she takes Dominic to meet them. Lurking around is Frank, an
accountant set out to woo Esme, but whom also has his own ideas of controlling her money.
It’s not long after this we learn Amy is in trouble and is in need of a big favour from Esme.
Amy’s view is that love conquers all, and throughout the play we see Amy’s view agonizingly
tested facing a number of difficult situations; will she decide they’re worth fighting for?
The stage was spacious and the actors definitely used the space wisely. Although most of the
play was set in Esme’s house, it didn’t seem to get boring, it actually kept the audience
engaged in what the actors were doing as oppose to where they were in the play. Although
it’s a fairly long play, the dialogue of the cast the whole way through the play was very clear
and all actors delivered a great performance. They all worked well together and seemed to
have chemistry on the stage. Evelyn is a character who adds humour to the play despite the
fact she doesn’t verbally play a big part; she doesn’t fail to keep the audience entertained with
her actions and general delirious characteristic.
I would unquestionably recommend this play to a wide range of people. It wasn’t a play which
required a particular age group or interest, it was just an enjoyable, humorous yet emotional
play to watch, dealing with the political problems of the eighties and the problems Amy was
faced on the way.
Katherine Twigg, Colonel Frank Seely School