Comments on: Why the differences between Lampedusa (the place) and Lampedusa (the play) matter

By: Calum

Calum — Sat, 11 Nov 2017 13:57:00 +0000

Disney and dramatic licence aside there is a ray of hope if we have people writing and producing quality work which breaks the acquiescence consensus. I saw his done in the Citizens Theatre where unemployed people could still get in for two quid. Words are always a problem if they kill deeds or mask motives and Kindness as a realisation if self in others, of every one bring of our kind or of aid as a means of sharing support and empowering rather than plunder and profit. I would have like to leave feeling we can hold our governments and institutions to account rather than drifting atomised lives of separation questioning occasional and unlikely kindnesses. This was pretty much a play about England but there is an implicit challenge for Scotland here to engage in the world so the values of our culture value the lives of communities everywhere. Small changes may be significant and which will be effective can be a matter for discussion and effort but the attitude and motivation that can come from a living culture where such plays can reflect inconvenient issues – running sores that are news mo more – are the first step.

By: Caroline Byrne

Caroline Byrne — Thu, 02 Jul 2015 14:04:46 +0000

This article explains what I felt was misguided about the play. There is no questioning the playwright’s talent and immense ability to tell two powerful stories of human frailty. But I expected a political dilemma and to learn about Lampedusa. I was disappointed that the stories had happy endings. It seemed ridiculous that the fisherman went out in a storm,would’ve found the boat After surviving a ‘tower block’ of a wave – found the wife alive and recognise her. It went a bit Disney I’m afraid. Denise’s arc felt more real and relatable – and more mired in political motive. A collection for refugees at the end of the play would be a nice touch. Both performances were outstanding. I still give the play 4.5 stars for masterful storytelling.

By: Anders Lustgarten

Anders Lustgarten — Tue, 19 May 2015 13:04:41 +0000

Thanks Valentina. Very interesting stuff. Perhaps it’s not clear in the text but Stefano is working as a coastguard during the Mare Nostrum era–the mass drowning that unhinges him is the one in October 2013. It’s not his actual ‘job’ to fish the dead out of the sea, that’s only how he sees it. The reality of the play suddenly intruded on the performance in quite an incredible way…

The play is transferring to the main stage of the Soho from June 29 to July 25 (spread the word!) so are there any small tweaks you’d suggest to correct the problems you see? Obviously it’s pretty hard to dramatise bureaucratic decisions, especially in a monologue which requires constant dramatic drive, and I don’t want to lose the sense of individual agency and kindness, but I’d be interested in your thoughts.

I completely agree that the fundamental problem is the causes of migration, particularly Western intervention via development banks and support for dubious regimes. I wrote an article on it, actually: http://www.theguardian.com/commentisfree/2015/apr/17/refugees-eu-policy-migrants-how-many-deaths

Best,

Anders