everything theatre

To Kill a Mockingbird, Regents Park Open Air Theatre

2013-05-25T18:47:00.000+01:00

Adaptation by Christopher Segel

Director Timothy Sheader

★★★★★

Pros: This show boasts an intelligent set and some child starlets that outshine all the adults on stage.

Cons: A couple of times the microphones were turned up a little late. Also I was very cold by the end but really that’s the nature of the beast and not a criticism of the show.

Our Verdict: A predictably strong start to the 2013 season for the Open Air Theatre. Lets hope the British weather doesn’t scupper their audience numbers!

Courtesy of Regent's Park Open Air Theatre

Here at Everything Theatre we’re encouraged, strongly encouraged even, to consider the whole evening not just the actual performance because, as you may have experienced yourself, a rude box office and poor service at the bar can ruin even night even if the greatest actors alive gave the performances of their careers that evening. Upon my arrival at the Open Air Theatre I was greeted with nothing but friendly professionalism and courtesy from all of their employees. The venue itself is a picturesque set in the equally beautiful Regents Park. There’s a unique harmony between the stark architecture of the theatre and the nature that surrounds it and I am always reminded of Titania’s bower whenever I set foot on the site.

The show To Kill a Mockingbird, the first of the five-show season running from May to September, is a classic GCSE text by author Harper Lee, and although I wasn’t required to read it at 16, it is well-known and popular story. Set in the deep south of North America during the great depression of the 1930s, it is a tale of a black man is being tried for the rape of a white woman. The story is told from the perspective of Scout, the young daughter of the lawyer nominated to defend the accused.

The young children who play Scout, her brother Jem and their friend Dill were particularly impressive. Symptomatic of the fantastic talent we have growing up in front of our eyes in the West End at the moment, a trend begun by Matilda at the Cambridge Theatre, these three starlets dazzle their way through the show with constant concentration even when the focus isn’t on them. They even outshine the strong adult cast, except perhaps Simon Gregor, who plays the ghastly Bob Ewell. Simply put, he was fantastic! He made Ewell really believable with traits and behaviours and gave us a wonderful evening of character acting. A really fantastic villain the audience loves to hate (put another way, if it was a pantomime I would have been hissing!). I imagine a big attraction to this show is Robert Sean Leonard who in recent years has been made famous for his pivotal role as Hugh Laurie’s best friend in House. Here he plays Atticus Finch and portrays the tired intellectual brilliantly, however his attempt at the slightly harder edge of Finch’s character isn’t necessarily as strong. For me, what was really touching in his performance was his relationship with the children; it was so warm, believable and nuanced and totally effective.

This being an outdoor theatre, lighting is usually kept quite simple, especially as daylight does most of the work for the first half. That being said, there was some successful bits of lighting used to exaggerate the mood on stage. The set is much simpler than I have seen in the past but lovely nonetheless, with the black stage set at a slight rake towards the audience. A tree growing out of the stage at the back on stage left is the only fixed piece of set and is utilised brilliantly for a number of scenes. Chalk is used to create the rest, as this is after all a child’s story. Their street is drawn out on the stage during the performance by the well-rehearsed cast.

All in all it’s a very well –thought out set and used creatively by the director. What was particularly effective was the use of the novel as a prop. Each cast member had his or her own copy and each copy had a different front cover. The cast placed these books at the front of stage right at the beginning and also at the interval, a reminder about how important Harper Lee’s book is in the 20th century canon.

Overall this show is well worth embracing the cold and wet to enjoy. Just make sure to take plenty of blankets, waterproofs and hot drinks – or a picnic if you’re pushing the boat out - and a thoroughly enjoyable evening is to be had at this venue with a strong show at its centre.

Please feel free to leave your thoughts and opinions in the comments section below!

To Kill a Mockingbird runs at Regents Park Open Air Theatre until 15th June 2013.

Box office: 0844 826 4242 or book online at http://openairtheatre.com/whats-on?by=productions

Not I, Royal Court

2013-05-24T10:00:00.000+01:00

Samuel Beckett
★★★

Pros: This is a masterful piece of theatre, brilliantly written and delivered with incredible sensory impact. The post show film of Billie Whitelaw, and talk with Lisa Dwan (actress) and Roger Michell was interesting and enlightening.

Cons: At nine minutes long it is very brief, and in my opinion delivered too quickly. Having never seen it, I did not understand a word of what was said.

Our Verdict: If you are interested in Beckett’s work this is a must-see experience. If you are not, catch Billie Whitelaw’s iconic version on youtube.

Courtesy of The Royal Court

The theatre is pitch black – not a glint of light anywhere (apparently this is illegal!). Then a mouth
appears to emerge out of the darkness, illuminated by a single spotlight, rapidly speaking a stream of words, incomplete sentences, phrases punctuated by pauses and screams. The mouth floats toward the audience, hovers high above the stage, gets larger and recedes as it speaks, sometimes inconceivably too large to be a human mouth. Then nine minutes later the light fades as the words diminish to a whisper and the lights come up. That is Samuel Beckett’s one woman monologue, Not I.

This performance is followed by a video interview with Billie Whitelaw, who played the mouth at the Royal Court in 1973, discussing the role and what Beckett intended for it. Whitelaw was tutored for the role by Beckett himself, and her insight into the man and his professional relationship with her and with his work is interesting and poignant. Following this video there is a discussion and question and answer session with the actress currently performing the piece, Lisa Dwan to whom Whitelaw gave Beckett’s original performance notes, and director Roger Michell who worked with Becket in the 70’s. There is a lot of interesting discussion around how the monologue is staged, rehearsed and performed along with more personal insights into what Beckett himself was like to work with and what he intended for this piece.

The play itself is intense – the complete deprivation of light heightens your hearing into which this barrage of grating discourse is poured. Eyes are completely riveted on the floating mouth high above the stage trying to decipher what it says, trying to find sense in the words even to recognise the words themselves. I could hardly breath, the effect is both mesmerising and disconcerting, grating yet melodic. It finishes and I have barely understood a word. Having not read up on it or seen it before I am left bereft of any comprehension of what it is or what it means – what is it all about?

The post show discussion makes it clear that this is the intention of this performance –Beckett said he wanted it performed at the speed of thought, he intended it to escape the intellect of the audience and play to their senses and that is precisely what Lisa Dwan achieves. What is lost in this delivery is any meaning, and for me without some connection with what is being said the sensory impact is hollow and loses gravitas. After the show I had a look at Billie Whitelaw’s iconic performance in 1973, which is approximately five minutes longer. Even on the screen the visual experience is phenomenal, but being able to identify the words makes an enormous difference to the impact of the piece in its entirety - in a few short minutes the whole disturbing lifetime of a woman is almost absorbed into consciousness without a conscious thought. I can’t help thinking that this is exactly how Beckett intended it - if he knew the ‘speed of thought’ would disable the words and disconnect the audience from the 70 year old woman saying them, I’m not sure he would have said it. After all, on seeing Billie Whitelaw’s final rehearsal in 1973 he had one word for her performance – ‘perfection’.

Spoiler alert – one astonishing thing we learn in the post show talk is that the mouth is not floating at all, it is rigidly fixed in place, in a hole on a black wall. Dwan’s head and arms a strapped in to prevent any movement at all. The effect of the floating mouth is indeed an illusion, an incredible trick of the mind, which apparently each audience member experiences differently. That in itself is amazing.

Not I is a masterpiece of theatre without a doubt. If you are a Beckett-ophile, this is a must see opportunity as the theatrical experience and the post show discussions with people who have first hand knowledge of the man himself is wonderfully inclusive. If not, draw the curtains, turn the lights off and watch Whitelaw’s performance online - it is phenomenal.

Please feel free to leave your thoughts and opinions in the comments section below!

Not I runs at Royal Court until 25th May 2013.
Box office: 020 7565 5000 or book online at http://www.royalcourttheatre.com/your-visit/tickets/

The Audition and Against Democracy double bill, Arcola Theatre

2013-05-24T08:24:00.001+01:00

Rodolf Sirera

Esteve Soler

Directed by Sílvia Ayguadé

★★★

Pros: A rare opportunity to see prime examples of Catalan theatre in Britain.

Cons: Its strength is also its weakness. The plays deal extensively with social and political themes, it’s not likely to appeal to everyone. It is also a rather long evening.

Our Verdict: An interesting curio. Surreal theatre with intelligence and bite. Worth checking out if you’re free and up for something different.

Courtesy of Bots & Barrals Theatre Co.

Prior to watching the Catalan double bill at the Arcola Theatre, I knew little about its regional theatre, having only seen one show in Barcelona. So I had little first-hand knowledge of the diversity of Catalan theatre. This being the case, I was quite keen on discovering what was on offer at the Arcola, itself a fantastic venue for global theatre and where the staff are very friendly and helpful to patrons.

Before the performances of The Audition and Against Democracy there was a talk by leading academics Lourdes Orozco and Montserrat Roser about the role of theatre in the Catalan region and its influences. In the years following General Franco’s death, censorship of the Arts was relaxed and there was a general appraisal of the country’s past and possible future. This led to a great interest in Spain in the Theatre of the Absurd and in particular of Samuel Beckett and Harold Pinter. The influence of these playwrights could certainly be felt in the performances that followed the talk.

The Audition, a one-act play, focuses on a celebrated actor who is invited to the residence of the local Marquis. However, his visit becomes an intense exercise in method acting, forcing the audience to question the boundaries between reality and performance. The Audition, translated by John London, was the most narrative-driven of the evening’s performances and little was mentioned about governments and democracy. Instead, the play focuses on the role of theatre in contemporary society and in depicting truth. This play immediately reminded me of the classic RKO movie, The Most Dangerous Game and while it is itself a bit of a slow-burner, it sets the audience up for the second half of the evening nicely.

Against Democracy is a collection of sketches, translated by Mike Buck, the first of which is perhaps the most surreal, revolving around a couple trapped in a spider’s web. The husband moans about politicians, while his wife is in a world of her own; a metaphor for people caught up in their circumstances and own ways of thinking. The rest of the evening reminded me slightly of topical TV shows such as Naked Video and The Thick Of It – with politicians giving the most blasé reasons for doing the things they do. Inspired by the French theatrical genre of Grand Guignol, I felt some of the sketches worked better than others and these tended to be the less obvious ones that captured the paradoxes of modern living with more subtly. The seven sketches are all performed by just three actors, Mark Knightley, Lee Ranns and Clare Fraenkel and it’s a credit to them that they could jump from one role to another at a moment’s notice. Overall Clare Fraenkel stood out the most for me. Regardless of how a sketch begins, the moment she walks on stage, there is immediate warmth and levity to the proceedings and the audience is presented with a character we can immediately like and identify with.

Watching seven sketches one after another can feel a little exhausting though, and when they finish it doesn’t feel like a natural end to the evening. I was left feeling slightly bewildered by the experience. While the sketches touched on weighty social issues with varying degrees of wit, there didn’t seem to be a natural progression towards a conclusion. Nor did the evening leave the audience with particularly poignant questions to think about, which is what I had been expecting in keeping with Catalan theatre’s challenging nature.

To conclude, I think that the Catalan double bill does throw up some interesting ideas and at times is capable of surprising and challenging its audience, but for the casual theatre-goer isn’t looking for personal views to be shaken, it might not be a suitable choice. Would I have enjoyed the evening if I hadn’t gone to the pre-performance talk before hand? I think so, but knowing more about the background and roots of Catalan culture certainly gave me a greater appreciation for what was performed.

Please feel free to leave your thoughts and opinions in the comments section below!

A Taste of Catalan Contemporary Theatre double bill runs at Arcola Theatre until 25th May 2013.

Box Office: 020 7503 1646 or book online at http://www.arcolatheatre.com/tickets-for/arcola/a-taste-of-catalan-contemporary-theatre

The Knight of the Sorrowful Figure, Blue Elephant Theatre

2013-05-23T15:48:00.002+01:00

Tiffany Wood from the Original Cervantes “Don Quixote”
Directed by Simon Day and Aitor Basauri

★★★

Pros: Never boring, at times comical and fittingly dynamic physical theatre. Good use of Spanish accents and guitar. Fun to watch.

Cons: Limited resources inevitably dictate small crew, bare props and no visual aids. But this was a work-in-progress after all.

Our Verdict: A thoroughly enjoyable hour of physical theatre, guaranteed to keep you entertained and leave in good spirits.

Courtesy of the Blue Elephant Theatre

Entering the South London gem, Blue Elephant Theatre, I was soon met with a feeling that I was in
the right place to enjoy experimental theatre. Tucked away between Walworth and Camberwell Green, this great little space oozes familiarity and a sense of dedication to the cause of great new theatre.

As we entered the seats, The Little Soldier Production crew was eagerly doing whatever they could to make you believe they were really only trying this out for the first time. The props in the dark wide space were wooden tables, a wheel, some hay thrown about and a beautiful landscape of La Mancha’s Countryside being hand-drawn there and then with scholarly white crayons, complete with a series of towering windmills.

And as the three actors introduced themselves and engaged the audience in a feedback session over the supposedly famous work that will be, the question marks painted on our faces soon turned into giggles and the occasional burst of laughter. Perhaps it was the pleasant contrast between the marked Spanish accent of the ladies and the proper British diction of their male companion, used here to good effect to create a sense of authentic farcical introduction to what was in fact a very serious attempt at reinventing the Don Quixote storyline in a bare 45 minutes of wonderfully executed physical theatre. Or perhaps it was the marvellous Spanish Guitar of accompanying artist Maria Camahort. Perhaps, it was just the good mood in the room, but everyone was soon ready to relax and follow the four performers into a whirlpool of laughter, surprise and anticipation.

And as the storyline develops and Alonso/Don Quixote (Merce Ribot) begins his fantastic journey through La Mancha in search of his beloved Dulcinea del Toboso, he will of course need his faithful Roncinante – the humble donkey-turned-horse. And as Don Quixote continues to add to gender confusion by swaying Sancho Panza (Patricia Rodriguez) away from his “gorgeous” wife (Dennis Herdman) and follow him in his delusional journey against ferocious monster-windmills, treacherous sheep, mysterious magicians living in the depth of the caves - the physicality of the performers and their interactions, kept us entertained all the way to the finale.

I was truly impressed, by both the hard work of this trio and the precise direction. The Spanish touches, magical music, changes in perspective and the sheer hard work of the crew make this a very sound attempt at reinventing this Spanish classic.

Dennis Herdman’s performance shined through with his interesting use of movements but no less can be said of Patricia Rodriguez and her very fitting characterizations as well as Merce Ribot’s gracious interpretation.

A fully deserved three-star rating that would easily become a five star if it involved greater resources and with it a greater number of actors, lightings, props and such. Well done Little Soldier Productions, y mucha suerte!

Please feel free to leave your thoughts and opinions in the comments section below!

The Knight of the Sorrowful Figure runs at Blue Elephant Theatre until 25th May 2013.
Box Office: 02077010100 or book online at www.blueelephanttheatre.co.uk

No Rhyme, Brockley Jack Studio Theatre

2013-05-23T10:58:00.000+01:00

Melanie Pennant

Directed by Kate Bannister

★★★

Pros: Transports the audience into a club toilet – a brilliant set, and some very believable characters.

Cons: Tries to pack too much in and doesn’t quite pull everything together. The drama becomes little strident and confused towards the end.

Our Verdict: An interesting and commendable effort from lots of new talent to keep an eye on.

Courtesy of Brockley Jack StudioTheatre website

There seems to be a fashion at the moment for setting plays in unusual spaces. Mydidae (which ran at the Soho Theatre and then Trafalgar Studios) did this with a bathroom in a middle class flat. No Rhyme does it with the ladies’ toilet in a South London club. It’s a brilliant idea because, as anyone who was once a teenage girl knows, the Ladies is where the action is. How many friendships have been born, and how many have died in a toilet cubicle on a Friday night between two forays on the dance floor?

I was sold on the setting and absolutely impressed with the set. You couldn’t have asked for more realistic a recreation of a club toilet, down to working taps and hand dryers. We meet Lizzie, played by Susan Lawson-Reynolds, a black toilet attendant who spends half her time muttering over a bible at the to-ings and fro-ings of her sinful clients, and the other half cleaning up after them. Lawson-Reynolds performance is fantastic and, as the only character who remains on stage throughout, she provides the perfect framing device for the story. She’s the kind of character who in real life would get completely ignored and marginalised but here, not only do we see the world through her eyes for a moment, but also, just by her presence, she brings into relief the absurdity of a lot of the other characters’ behaviour.

Under her watchful eye, we see Nushka (played by Megan Lee Mason) and Pepper (played by Naomi J Lewis) gossip, reminisce, and argue. The two girls’ performances are good and their relationship is believably endearing, complete with that edge of dangerous intensity characteristic of teenage friendships - at one point Nushka talks Pepper into attacking a girl who she believes slept with her boyfriend, just because friends should “have each other’s backs”. There were a few moments when the performances didn’t quite flow as well as they could have done, in particular as the girls were supposed to be getting drunker. Acting drunk is something I find even the best actors can rarely pull off though. Katya (played Karina Knapinska) is the least interesting character, a stereotype of an Eastern European immigrant, included mostly to engineer an element of the plot, which is crucial for the unfolding of the rest of the play.

The story builds to a climax, and here I felt that the writer was deliberately complicating things and adding drama in order to make things more interesting. To me, this was a shame, because by the end of it – there is too much for the audience to take in both visually and dramatically and it all felt a little strident and confused. I felt like the play might have benefited from being stripped back a bit, concentrating on the relationship between the two girls and how Lizzie reacts to them. By having the girls come in and out of the toilets constantly, amongst several others characters, the script clearly tries to create the illusion that we are witnessing a whole night in a club toilet. Personally, I felt the script would have benefitted from condensing the drama into one or two trips to the toilet by the girls, culminating in a confrontation with Lizzie. There are a few beautiful moments when Lizzie comforts the girls – who go from confident and cocky to lost and panicked by the end – and for an instant they are all humans in pain, when only a second ago they had been gum-chewing teenage girls versus scarf-wearing illegal immigrant. I would have loved to have seen these moments breathe by stripping back some of the yelling and confusion of the multiple story strands.

I felt that in some ways the play was prevented from reaching the heights of its ambition – to be a hard-hitting drama about the absurdity of the pain that is inflicted on people by themselves and by others (no rhyme, no reason). Nonetheless, it is commendable for that very ambition and, as a first time effort from writer Melanie Pennant, an impressive feat.

Please feel free to leave your thoughts and opinions in the comments section below!

No Rhyme runs at the Brockley Jack Studio Theatre until 25 May 2013.

Book online at: http://www.ticketsource.co.uk/brockleyjackstudio/events

Lear, Greenwich Theatre

2013-05-23T10:34:00.000+01:00

William Shakespeare
Directed by Ricky Dukes
★★★

Pros: Flashes of real quality and originality in the staging.

Cons: Certain aspects of the staging didn’t quite work.

Our Verdict: A hit and miss production which was admirable in its risk-taking and ingenuity. It had a nice pace but fell flat on a few occasions.

Courtesy of Greenwich theatre

Like many of my contemporaries, I studied Lear for A-Level. I remember my English teacher would
turn up to class seemingly drunk – shirt untucked, glasses askew, shoelaces untied – and then proceed to stick on any Lear-related DVD he’d managed to get his hands on the evening before. We saw Lear in Russian, Lear in black and white, Lear in Russian and black and white – all the while allowing my teacher to rest his poor, woozy head. But of all the versions I saw, I never saw Lear as a woman.

This production, presented by the Lazarus Theatre Company, did just that. The unusual gender reassignment was played by Jennifer Shakesby – any dubious suspicions of ancestral nepotism disappeared at the confident way she began the first scene. Even more strikingly, she had a stream of long wavy red hair that immediately put me in mind of former Sun editor Rebecca Brooks: this was a woman with balls.

But this is also where some of the problems started. There was a weird inconsistency in the revised dialogue: Lear would refer to herself as a ‘woman’, and the sisters called her ‘mother’, but then she was still ‘King’ and ‘My Lord’ to others. Shakespeare coined many terms, but I don’t think ‘trans-curious’ was one of them… It gave the feeling that there was no particular reason to cast Lear as a woman – indeed, Shakesby didn’t act very womanly, there was no dampening of Lear’s traditional brutish nature, nor any extra tension that is often accentuated between daughter and mother as opposed to father. It seemed like a missed opportunity to put a new spin on the characters’ relationships.

This was a pattern throughout the production: hitting you with something fresh and unique but not quite putting in enough care and attention to make it work in its entirety. For example, the staging was at times exhilarating: bursts of energy accompanied by terrifying abstract music then sudden sparse stillness. It was very effective. But then sometimes the music was painfully loud and the frenzied action over the top (one random character died by dramatically spitting his last breath into the air – if any of you have seen the Nicholas Cage ‘classic’ The Rock, you might too have been reminded of a rather silly death scene).

The set was pretty much completely bare, except for a circular raised section and a few chairs that cropped up now and then. This, however, didn’t matter at all, as much of the lighting appeared as long streaks from the side. Most of the time you could only see the actors’ faces peering through the atmospheric dry ice that wafted around the theatre. It looked great – very filmic as your eyes were drawn directly to the action. There was even an intriguing bit where some of the minor cast members wore torches on their heads, and were the only source of light in that scene: when they moved, the whole atmosphere shifted. It was like Christmas lights. But human-powered. And not rubbish.

Again, though, the experimental approach to lighting became at times a hindrance: often the characters would be ever so slightly out of the light, just like government whistleblowers on Panorama. And because the lights were fixed in position and hidden in the wings, much of the action took place towards the back of the stage – the big chasm of blank space between us and them left everything slightly disconnected.

This was my overall feeling: disconnection. I remember the last time I saw Lear at the theatre. Lear had Cordelia in his arms, and was delivering a heartfelt speech. I had seats very close to the front, and there was one moment where Lear spoke so forcefully, that he gobbed directly in Cordelia’s face. I was a teenager at the time, but I didn’t snigger: I was completely caught up in the moment. After having seen Lear so many times in class, it was the first time I truly appreciated the power of the story. And although I enjoyed Lazarus’ version, and would recommend a watch, to me it just felt like another one of those DVDs.

Please feel free to leave your thoughts and opinions in the comments section below!

Lear runs at Greenwich Theatre until 1st June 2013
Box Office: 0208 858 7755 or book online at: http://www.greenwichtheatre.org.uk

The Platform, The Bread and Roses Pub

2013-05-21T09:22:00.000+01:00

Johnny Did Not Come Marching Home, by Sharon M. Andrews, Directed by Tom Skitt

Just Desserts, by Will Howells, Directed by Nathaniel Francis

Skeleton, by David Payne, Directed by Kuba Drewa

Cold Calling, by Suzette Coon, Directed by Tessa Hart

Hamlet in Hiding, by Rich Rubin, Directed by Dominic Danson

★★★

Pros: A great survey of new works that showcase some truly blossoming talent.

Cons: Not all the pieces are well-fleshed out, and some still require a lot of work.

Our Verdict: A great opportunity for new work to be showcased and experimented with. Definitely worth checking out for theatre-goers interested in the page to stage process.

The Bread & Roses Theatre Company hosts The Platform

The Bread and Roses Theatre Company routinely hosts The Platform events offering evenings of short new works, allowing budding writers, directors, and actors to put their work in front of an audience. This particular workshop showcased five short plays from different writers, directors, and casts. The diversity was great, and there were a lot of developing ideas, which will no doubt benefit from audience exposure. While I found some of the pieces more difficult to get through than others, by the time I left I felt confident that the whole evening had been incredibly worthwhile and that I’d be happy to visit the Bread and Roses for another Platform workshop in the future.

The sequence of plays started with its weakest piece, a clichéd and banal portrait of a conflict between two brothers after the younger, Clyde returns gloriously from war while his elder brother, Johnny, suffers humiliation and insecurity for having not joined the armed forces. The problem is manifested in Clyde’s affair with Johnny’s girlfriend, Judy. It’s a short piece ad failed to find depth or individuality among these sweeping themes that have dominated films, plays, and novels forever. The archetypal elements had potential, but simply didn’t manage to create a believable or impassioned story this time around so that the whole thing felt a bit forced. The inconsistent and generic southern accents attempted by the performers didn’t do much for the sincerity of the piece, although I might be a little pickier than some here, having grown up in a Southern American family!

Johnny Did Not Come Marching Home was followed by the delightfully more entertaining Just Desserts about the trials and tribulations of an 'After Picture' dieter. The monologue features the bubbly Joanna Greaves as she documents her losses – weight and otherwise. Will Howell’s prose is funny, clever, and thoughtful, offering a subtle but thought-provoking view on how we think about our bodies and our lives.

Just Desserts transitioned smoothly into David Payne’s Skeleton, about a mother working hard to confront her daughter’s eating disorder. Payne handles the conflict with skill, incorporating humour, fear, and sentimentality in all the right doses. Of particular relish in his piece are the hilarious and truthful exchanges between Claire and Gill. Here, Payne captures the infuriatingly paradoxical mother-daughter relationship to a tee, making his play relatable and interesting.

What followed was the funny but a bit too predictable farce, Cold Calling, which depicted a distraught telemarketer showing up at an uninterested customer’s home after aggravating her on the phone. While the script itself was a bit more heavy-handed than I would have liked, Katie Richmond shone as the anxiety-ridden sales girl. Her comic timing and quirky demeanour kept me watching.

Finally, the sequence of plays circled back, ending strangely close to where it began, with a clichéd and tiresome set-up that lacked some much needed originality. The play revolved around some dodgy robbers doing a post-heist money count in an abandoned theatre. Though Hamlet in Hiding has its moments, it relied largely upon the dynamic between the half-brained Denny and silver-tongued Reg to move the script along. The comedy worked in places, but the stakes, while stated, didn’t seem remotely urgent and kept the play from really going anywhere.

It was a night of up and downs, but that’s what makes presentation of new works so much fun; as an audience you are aware you’re watching a work in progress, and you get to be in on the game a little bit – it’s fun, it’s inexpensive and it’s interesting to watch something brand new in the early stages of its development. The Platform was a great experience for me, and one I’d like to check out again.

Please feel free to leave your thoughts and opinions in the comments section below!

Platform is no longer currently running at the Bread and Roses Pub.

Future workshops will be listed at http://www.breadandrosespub.com/events.php

Hutch, Riverside Studios

2013-05-20T12:10:00.002+01:00

Joe Evans

Directed by Linnie Reedman

★★★

Pros: An interesting story and the music, costumes and set really evoke the atmosphere of the time. The Halbwelt Kultur troupe of chorus girls are a definite highlight– they are fab!

Cons: The drama lacks depth and the second act is a bit lengthy. The performance of the title role isn’t quite dynamic enough to do justice to such a charismatic character.

Our Verdict: In the program, author Charlotte Breese describes Hutch as having ‘a huge personality…a fascinating contradictory human… a classic alpha male’. This performance tells a good story but didn’t quite convey the characteristics that make Hutch such an interesting man.

Courtesy of Ruby in the Dust website

Ruby in the Dust theatre company are in the midst of a slight love affair with the Jazz Age, with a revival of their well received production of The Great Gatsby and Hutch playing at Riverside Studios. Hutch is a biographical musical about Leslie Hutchinson, adapted from the novel by Charlotte Breese. Known simply as ‘Hutch', he was one of the biggest cabaret and variety show stars in the world in the 1930s. He made over 400 recordings, and was a familiar voice on the radio throughout the war. The show opens with Hutch’s involvement with Cole Porter in Paris. Porter is giving Hutch guidance on how to perform, and is encouraging Hutch to mingle with the right society to further his career. There is more than a hint that the two are intimate and involved. The drama then takes us to a Parisian nightclub, where Hutch is introduced to Lord Louis and Lady Edwina Mountbatten, and an affair between Hutch and Edwina ensues. In act two, we are in London, where Hutch has made it and is living a decadent highlife amongst the cream of London society. Despite this success, as a black man he is still required to use the tradesman’s entrance. The affair with Lady Mountbatten is revealed in the press and the King forces her to deny it. Hutch is devastated and there is an ironic twist that this all happens at the same time that Hutch obtains ‘white status’ and is therefore welcomed in society on equal terms.

It’s a good story about a very charismatic man, and could be full of drama. However I feel this aspect of the play is a little lacking. There is a lot of subtext, which could be beefed up to provide a more dynamic experience for the audience. This is the jazz age after all, reputedly full of decadence, sex and scandal, but this is all very softly exposed in this production. There isn’t enough built up, climactic drama to really feel any tremendous impact of the affair going public. Perhaps the drama is somehow lessened by the many musical numbers throughout. Whilst the songs certainly evoke the ambience of the era, they dissipate the tension and dilute the emotional charge that could exist. Perhaps this is a deliberate choice to ensure that, as a musical that aspires to transfer to the West End, it is tame enough to appeal to a wide audience.

There are some strong performances from the cast, most notably Sid Phoenix as Cole Porter. Phoenix saunters and simmers, debonair and decadent – everything I would expect from a character of that era. Nell Mooney as Porter’s wife Linda plays her part with ‘flapper’ flair and conveys the underlying despair that accompanies a woman in her position. Imogen Daines is impressive in her professional stage debut as Lady Edwina Mountbatten, combining regal airs with promiscuous undertones. As Lord Mountbatten, Andrew Mathys recedes against the stronger characters, which is possibly an intentional interpretation of this supporting role. The title role is played by Sheldon Green, who is in his final year of training at Bruford College. Green is a talented musician – he sings and plays the majority of the numbers on the grand piano throughout the performance. Unfortunately Green’s portrayal lacks the oomph and pizazz, the sexual magnetism and machismo that I would expect from Hutch, he is just too proper and nice. There is also an exploration of what it means to be black in 1930s white society, which is delivered without real emotion and his interaction with the rest of the cast feels shallow which undermines the strength of the story of this enigmatic man.

That said, it’s a talented cast from a musical point of view and the familiar songs are enjoyably performed with the exception of a couple of clashing harmonies which could be tightened up a tad. Special mention must go to the smashing chorus girls from The Halbwelt Kultur troupe, who bring the essence of the era to the stage with perfection and add so much to the enjoyment of the performance with their song and dance and audience interaction. They were indeed a highlight of this new musical for me. With some development I can see Hutch evolving into a West End musical, and there is definitely a Gatsby-esque screenplay somewhere in this story of a legend of the jazz age.

Please feel free to leave your thoughts and opinions in the comments section below!

Hutch runs at Riverside Studios until 8th June 2013.

Box office: 0208 2371111 or book online at http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1349705974

The Collector, St Peter's Church (site-specific)

2013-05-19T13:54:00.000+01:00

Adaptation by Mark Healy

Directed by Theo Herghekegiu

★★★★

Pros: Well adapted, intense play set in a magnificent theatre space.

Cons: The dark nature of this script will inevitably unnerve some audience members. Some of the acting felt a bit overly dramatic at times.

Our Verdict: A daring adaptation of this classic psychological thriller with some very good use of visuals. Elicits strong reactions from its audience.

Courtesy of Notting Hill Mayfest website

Admittedly, going to see The Collector was never going to be a light-hearted event. Walking through the gates of St Peter’s Church in Notting Hill, a beautifully fitting setting, I prepared myself for two full hours of suspense. Invited by the Notting Hill Mayfest all the way from Bucharest, Romania, this is a rarely performed adaptation of, quite frankly, a very scary novel. I expected to be put through my paces with this production, which should come as no surprise for those who have read the classic book by John Fowles or watched the 1965 Wyles’ movie adaptation.

As an audience member I put myself firmly in the hands of Mark Healy and his adaptation of this psychological thriller, following the words of Miranda, “Everybody should be made captive at least once in their life”. So I surrendered, ready for whatever emotional turmoil I was about to encounter, which is probably the best way to experience any piece of theatre.

The script itself is an angst-charged and dark tragedy following the emotionally under-developed Frederick, once butterfly collector and now lottery-winner-turned-sociopathic-kidnapper. Expanding his collection of living things to young, beautiful female specimens of the human variety, he begins stalking the young art student Miranda, and eventually kidnapping her with the help of chloroform and a rather big van. For Miranda this is the start of a living nightmare. She is forced into a cellar, dependent upon her jailor for food and survival, but she soon discovers that he is not after sex or money. Instead he wants to collect her very soul, wanting her to fall in love with him. As all her futile attempts at escape fail, she slowly descends into the horror of madness and desperation.

The team at Teatrul de Arta have certainly made every conceivable effort to evoke this feeling of desperation in the audience and they succeed well. Using the fundraising platform, Kickstarter, the creative team have clearly put a lot on the line to bring this production to life. The beautiful costumes by Sandra Galan, colourful and eccentric, along with clever projections by Cinty Ionescu add a much needed tone of light to the dark atmosphere of the cellar. Adriana Parvu plays a dignified Miranda, most moving in her desperation and striking in her portrayal of captivity. As a somewhat 'damsel in distress' character, it is hard to find the balance between distress and overly dramatic acting, and whilst for me some moments were slightly over played, she handled a difficult character well. The moments of brutal physicality during every desperate attempt to set herself free stood out for me in particular. However it is Archie Whyld’s performance as Frederick that chills the air. Untouched by his captive's emotional outbursts, he is the perfect psychotic villain His coldness and determination are chilling and yet his naivety of all things woman is near hilarious, giving his character even greater depth.

Of course, to demonstrate the subtle emotional mind game that transpires from Fowles’ novel is not an easy task in a life performance. I thought the innovative use of a camera to collect Miranda’s life was a clever transportation to the 21st Century. The alternating points of view, switching from captor to captive, which is the soul of the original novel, at times works very well with good use of lighting. Whilst one cannot expect to gain all the subtleties that the thriller novel gives to a reader, this performance gives audiences new sensations unique to its adaptation. The last dinner scene was particularly enjoyable too, with lots of feathers being scattered around from the pillow fight.

Overall, this was a laudable effort to recreate a classic psychological thriller with a modern twist. Crafted by a very talented team that deserves a bright future, most importantly this production was funded through a public source of supporters of the arts. It's just a shame that you’ll need to trek it all the way to Rumania to catch them next, but hopefully this company will be invited back to the UK soon. Now, where was that damn exit from this cellar again?

Please feel free to leave your thoughts and opinions in the comments section below!

The Collector ran at The Notting Hill MayFest on 17th and 18th May 2013.

The Notting Hill Mayfest runs from 10th May until 24th May 2013. For more information visit: http://www.nottinghillmayfest.org.uk/

Mess, Battersea Arts Centre

2013-05-18T22:39:00.000+01:00

Caroline Horton and Company

Directed by Alex Swift

★★★★

Pros: A lively combination of a serious topic with a wacky play and enthusiastic characters.

Cons: I’m not entirely sure the idea of it not being the ‘real show’ was necessary or worked (unless it really is moving into a bigger, more impressive venue).

Our Verdict: Three strong actors perform a script by a writer who has a deep understanding of the subject.

Courtesy of the Battersea Arts Centre

Caroline Horton understands eating disorders. This is not only clear from the fact that she herself suffers from one, but she has also written a piece which, while quirky and off the wall, is equally straight talking, hard-edged and effective. Mess - its premise being that this actually isn’t the “real show” because that will be in a real theatre with theatrical tricks such as the ability to fly and a large orchestra (instead of the put-upon keyboardist Sistahl, played by Seiriol Davies) - tells the story of Josephine, a young woman struggling with the mental and physical effects of anorexia.

Caroline Horton plays the semi-autobiographical character of Josephine. Her portrayal was deep and realistic. Perhaps drawing massively on her own experience allowed the script to be so real. The many pauses and silences were utilised amazingly to show both how ineffective society is at talking about it and the strength needed to actually admit you have an eating disorder. These were often both drawn out and cut short by the wonderfully eccentric character of Boris (played by Hannah Boyde).

As I watched I felt a certain level of anxiety, silently willing Josephine to get better. Cleverly, Horton manages to evoke this from the audience while at the same time keeping Josephine as a relatable character. Instead of feeling frustration at what could be perceived as stubbornness in her inability to recognise her illness, I gained, almost sub-consciously, an understanding about anorexia and those suffering from other eating disorders.

What was a particularly fantastic use of theatre was staged at the very end. Boris, ever the enthusiast, attempts to finish the show on an epic show stopper (or at least to explain the ‘epic show-stopper’ they’ll have in the real show) but Josephine stops him. She explains that the show can never end because that would suggest that there is a happily ever after, whereas in reality eating disorder sufferers have to deal with their illness for the rest of their lives. An emotional Boris blows up and explains to Josephine that everyone, not just those suffering from anorexia, has rubbish days and that 70% of the time our lives are mediocre and we aren’t on top of the world, but that that is ok so they can finish the show. He makes it ok that she has set-backs. Hannah Boyde, who shines throughout the show, really produces a spectacular performance at this point. The speech is both cross at Josephine while at the same time being entirely sympathetic to her illness, a fine balance.

Overall this show is worth a visit for the performances. While the script is strong and effective on anorexia I wasn’t convinced by the actors breaking the fourth wall to tell us about their visions for a bigger and better show. There are however very special moments, the more serious ones coming from Caroline Horton while Hannah Boyde steals the show.

Please feel free to leave your thoughts and opinions in the comments section below!

Mess runs at the Battersea Arts Centre until the 1st June 2013.

Box Office: 020 7223 2223 or book online at https://www.bac.org.uk/content/17371/see_whats_on/current_shows/cook_up/mess.

Genesis New Writing Night, Genesis Cinema

2013-05-18T22:06:00.000+01:00

Presented by Genesis Cinema

★★★

Pros: A delightful and cosy atmosphere created in an architectural gem. Makes you feel like you’re amongst friends.

Cons: Due to that strong community feel, there’s the potential to feel like an outsider.

Our Verdict: A very fun night where your input will directly affect creative growth. The format is still finding its feet.

Courtesy of Genesis Cinema

One of my favourite experiences in theatre is the post show tipple and the deeper delving into the earlier proceedings. It makes a great first date as you quickly find out what your beau is excited by or what they take offense at. This mixed bill of new work is designed around long chats and long drinks in the quirky and unusual setting of the Genesis Cinema, one of the those hidden London gems.

Each month several short pieces are staged as part of this evening. They may explore an idea, a plot twist or a character, or they may be part of a fuller length work in development. The stage is about the right size for stand-up comedy (you could swing a cat, but that’s about it) so forget about elaborate scenery and prepare to make the special effects with your imagination.

It’s really great fun. It is a mixed bag - as the aim is to experiment there will always be weak elements - but the producers furnish you with introductions, question sheets and pens. There is always a feeling that if you’ve paid ‘good money’ to see something and it doesn’t meet your expectations then you’ve been cheated. However, by being very forthright about what the night is about and by asking you to critique the work, it doesn’t matter when you see some things which rankle because you can communicate that and the work will develop because of it. Similarly, if you love the way a character is built or a plot twist, you can congratulate the author and know that your comments will be read and appreciated. It is, in fact, the joy of being a theatre critic.

This was the second time the night has been run, so it is still teething and the format could be tightened up. Breaks need to stick to time: although everyone seems to be enjoying a chat, if you’re not part of one of the big groups it can get irksome. The sofas-so-comfortable-you-wish-you’d-brought-your-dressing-gown need to be arranged so that there are better sightlines, and a fuller programme is needed so we can get to know the people behind the work. I would also advise, like comedy, that either the best or best-known act is presented last, the second strongest first, and the weaker acts in the middle. Putting a weaker piece first can make one dread the rest of the night.

I can very easily see this evening spawning the next generation of fringe theatre stars, however, the producers need to remember one thing to ensure the longevity of this event: the evening is just as much about the audience as it is the new writers. The real joy of nights like this is in creating a fanatical audience not associated with any of the acts. This can be done by forming a Rep-style company so that we get to know the same group of actors; ensuring there’s enough information available beforehand about the people involved; having a book club style discussion group afterwards; presenting a website where everyone’s feedback is posted; or by promoting mini twitter reviews so audiences can literally become theatre critics.

There’s lots of room to experiment and make this a really exciting evening for passionate theatre aficionados. This is especially so because all the creators are in audience with you and some really fun mingling could take place if encouraged (names and role badges perhaps?).

I’m putting this in my diary for every month – and if you’re passionate about theatre (or just like to speak your mind) you should too. However, I’ll only continue to attend if they continue to evolve their warm, friendly, audience-focussed atmosphere.

Please feel free to leave your thoughts and opinions in the comments section below!

The Genesis New Writing Night has now finished, but keep up to date by visiting the Genesis Cinema website: http://www.genesiscinema.co.uk/index.php.

The Little Soldiers, The Cockpit

2013-05-18T08:40:00.001+01:00

Conceived and directed by Guillaume Pigé

★★★★

Pros: Beautiful imagery, haunting original music, a showcase of first-rate physical performances.

Cons: Might not be your cup of tea if you don’t like mimes! Without words, the story can be difficult to follow.

Our Verdict: A beautiful piece of storytelling, featuring very skilled performers, that captures the magic of the circus. If you like physical theatre, go see it!

Courtesy of The Cockpit

The Little Soldiers is a mesmerizing tale told through movement, music, and light. During the hour-long performance, not one word is spoken. The story is simple and ancient, perhaps pre-linguistic. The little soldiers of the title are two circus performers, played by Guillaume Pigé and Malik Ibheis. They are brothers who have fallen in love with the same ballerina, played by Selma Roth. In the circus tent, the brothers play out their rivalry and ultimately fight to the death.

The production is put on by Theatre Re, an international company specializing in physical theatre and mime. The Cockpit Theatre in Marylebone is the perfect venue for this show. The seating in-the-round makes us feel like we are under the Big Top. The audience is able to sit very close to the action and see every nuance of the performances. The staging is minimal: a ladder, a microphone with cord, a spotlight and an accordion are the only props.

Aesthetically, the show is gorgeous. Costume designer Amédine Bello and lighting designer Katherine Graham both deserve credit for the show’s beautiful imagery. The Little Soldiers captures the strange mystique of the circus, the poetic mixture of glamour and melancholy.

I am not a fan of physical theatre or mimes. I connect with words, with texts, with language. For my day job, I work as an editor. Without words, I found it difficult to follow the story, though I suspect that might just be the way my mind works. The programme helpfully explained that the play is meant to explore what happens ‘when folly takes over men’s mind and when ambition goes beyond moral constraint’. Though I was enchanted by the show’s images and music, I did not find meaning in it.

It is therefore a testament to the skill of the actors that I still found their performances so captivating. The performers do amazing things with their bodies, stunning feats of flexibility and contortion. My favourite image was when the ballerina became a puppeteer to the two brothers’ marionettes. How they make their bodies so floppy, I’ll never know. The Little Soldiers also made me think about how it is possible to tell stories without words. As I was watching the show, I considered how much the face can express on its own. Selma Roth had the most expressive eyes of any actress I have ever seen on stage.

There is a fourth performer who is just as crucial to the show’s success. Alex Judd composed the play’s original music and performs live on stage, playing the keyboard and violin. His haunting music works seamlessly with the movement and helps narrate the story. There were also several well-judged moments of silence.

If the thought of mimes makes you want to head for the hills, you might want to give The Little Soldiers a miss. But Theatre Re and the Cockpit Theatre are currently offering the most impressive physical theatre you could hope to find. It made this reviewer, a self-confessed word-lover and mime-sceptic, give the genre a second look.

Please feel free to leave your thoughts and opinions in the comments section below!

The Little Soldiers runs at The Cockpit Theatre until 2nd June 2013.

Box office: 020 7258 2925 or book online at http://thecockpit.org.uk/show/the_little_soldiers.

4000 Miles, The Print Room

2013-05-17T17:50:00.000+01:00

Amy Herzog
Directed by James Dacre
★★★★

Pros: Fantastic acting from Sara Kestelman and realistic lighting, sound and set by the production team.

Cons: Annoying American accents and the use of American clichés (such as repetition of the word ‘like’) can be a bit distracting

Our Verdict: Good acting and a heartwarming story makes this production one to watch.

Courtesy of The Print Room

Following on from its UK premiere in April this year at the Ustinov Studio, Theatre Royal Bath, 4000 Miles has now transferred to The Print Room in Notting Hill. A strong cast with fantastic writing from playwright Amy Herzog, makes this tale believable and heartwarming.

Twenty one year old Leo (played by Daniel Boyd) turns up suddenly at his 91 year old grandmother’s apartment, after completing a coast-to-coast bike journey across America. Olivier award winning actress Sara Kestelman plays Vera Joseph, a lonely but sharp, feisty elderly woman who is struggling to come to terms with old age. Kestelman’s portrayal of an intelligent woman frustrated by her inability to remember words or phrases is perfectly captured and will make many audience members think fondly of their own grandparents or elderly relatives. Certainly throughout the performance I found myself thinking of my relationship with my grandparents in comparison to the relationship that Leo and Vera share.

Boyd’s representation of hippie Leo, was admirable, although it did take me a long time to warm to him and it was not until the retelling of how his best friend died during the ride across America that I really connected with him. At times you want to shake him and tell him to start living in the real world, while at other points you can’t help but admire him for his ability to reject consumerism. The introduction of Bec, Leo’s ex girlfriend (played by Jenny Hulse) didn’t really add anything to the story and the repetition of the word ‘like’ after most sentences did begin to grate on me. Jing Lusi also offers light comedy in her supporting role as Amanda, an art student Leo brings home for the night.

Death is featured prominently throughout the play – Vera is a widower whose husband's name still appears on the downstairs buzzer, and during Leo’s month long stay several of her friends pass away making her feel even lonely. However, the loss of Leo’s young friend also shows that it's not only the older generation who are affected by death. It seems as though the connection between the two generations is bridged somewhat with the realisiation that we’re not really all that different as human beings.

Simon Kenny’s set design was the perfect replica of a New York apartment - the peeling wallpaper, watermarked ceiling and stained windows and walls made the action on stage all the more real. The sounds of New York, horns honking, cats yowling and sirens, all add to the mood and drama taking place while the lighting is used not only to depict morning, afternoon and evening but also to create atmosphere.

Herzog has done a great job of making the characters real, thereby making 4000 Miles a touching show with some laugh out loud moments – mainly thanks to Kestelman and Lusi. While Boyd’s American accent could do with a little bit of work, it is Kestelman who really steals the show.

Please feel free to leave your thoughts and opinions in the comments section below!

4000 Miles runs at The Print Room until 1st June 2013.
Book Online at: http://www.the-print-room.org

The Storyteller - Curse of Bakawali, Etcetera Theatre

2013-05-17T14:48:00.000+01:00

Written and performed by Ashley Alymann
★★★★★

Pros: Combining the art of storytelling with contemporary performance, this piece captures the all-encompassing excitement one might remember from childhood.

Cons: Slightly too long in running time, the ending seemed rather abrupt for such a captivating and intricate piece.

Our Verdict: A masterfully told tale; an enthralling and empathetic experience that allows just enough give at the end to marvel at the feat of the performance just witnessed.

Courtesy of the Etcetera Theatre

It's very easy to forget that theatre as we know it derives from the age- old tradition of Storytelling. What we really want from all these celebrity protagonists, the fancy lighting, digitized set pieces and ornate costuming is a gripping story and characters which one can care about and relate to. However, sky-high ticket prices in hot demand tell us it is the former that we want from our evening's entertainment and stimulation. I therefore wouldn't be surprised at your raised eyebrows when I tell you that one guy in a white t-shirt and dark sweats with nothing more than simple lighting, some unobtrusive (but integral) musical accompaniment and a gripping but fictional myth based on Malay Storytelling tradition, could blow many West End blockbusters out of the water.

Ashley Alymann as The Storyteller deftly folds us into his dark, entrancing story, taking us into an ancient world of magic and myth. It begins following the fate of two young brothers coping with the danger and ruin of the society around them and their mother’s murder. Quickly assuring us of the boys’ safety once being adopted by an elderly woodcutter, The Storyteller transports us through time to when the youngest brother, Bhatin, is ready to take a wife.

During a midnight walk on a sleepless night Bhatin encounters an old woman. Having shown her a kindness in helping her out of a tight spot, the eccentric old lady is insistent that she must repay him. Adamant that the only thing he desires is a wife, the “grandmother” gives the young man strict instructions of a ritual that must be performed on the next full moon to reveal a woman “with astonishing beauty, gentle as the wind, and a heart as pure as the moon.” When Bhatin performs the prescribed actions to the letter, he is presented with the woman of his dreams, Bakawali, who is full of sorrow.

From here, the Storyteller takes us on a journey to reveal that as Bhatin’s fortunes grow, his wife’s situation and state worsens. In a mystical saga of magic, sacrifice, sea kings and hell fire we are taken on the journey to avenge her maltreatment.

Alymann skillfully presents three-dimensional characters each with definitive personalities and physical traits, without a caricature in site. My personal favourite was the old woman – welcomed comic relief in an often harrowing tale – and the sea monster, created and delivered with creativity and believability.

Perfectly complementing and conducting the flow of the piece was the original score by Malcolm Milner augmented by live percussion, which encouraged the “buy-in” to the mystique and sacredness of storytelling.

This production is a real treat fueled by true talent with the heart of theatre at its core – not to be missed.
Please feel free to leave your thoughts and opinions in the comments section below!

The Storyteller – Curse of Bakawalii runs at Etcetera Theatre until 18th May 2013.
Box office: 0207 482 4857 or book online at http://www.etceteratheatre.com/

Cuddles, Ovalhouse Theatre

2013-05-16T23:39:00.000+01:00

Joseph Wilde

Directed by Rebecca Atkinson-Lord

★★★★

Pros: A most unusual script brought to life by two strong actors.

Cons: Nothing much to report. Some elements of the show didn’t quite work but nothing too bad.

Our Verdict: Funny, touching and incredibly intense, this is new writing at its best.

Courtesy of the Ovalhouse

There have been a lot of shows about the riots in recent times. Some have been sympathetic to the rioters, whilst others have presented the facts without taking sides. Although this is a show written in the wake of and certainly inspired by these events, you won’t see anything like it anywhere else. Cuddles is the story of Eve, a 13 year-old vampire who has never left her room and who knows nothing of the world other than what her sister has told her. It is a profound and deeply effective metaphor of the young consumerist while highlighting the complications of family life and the difficult transition into adulthood.

The set is brilliantly unsettling with a wrought iron child’s bed, filthy bed linen and buckets of faeces to the side. The show begins with Eve (Carla Langley) crawling out from under the floorboards to deliver a sinister monologue with a torch under her chin. As supernatural creatures go, there is nothing creepier than a child and although Carla Langley is clearly a fully grown woman, she is also very convincing as a feral 13 year-old. Part of the reason why this show is so effective is the strong performances and the chemistry between the two sisters. Rendah Heywood is terrific as the man-hating, money-obsessed older sister who, despite being the only human of the two, strangely lacks real human qualities. She is deficient in basic empathy and seems to only really care about herself.

The relationship between the two is deeply complex and much of the action and dialogue is steeped in heavy metaphor. They both reflect each other and the modern world in so many ways. The older sister Tabby is vampiric in her attitude to the world and to money and sex. Tabby does not give, she takes and her man-hating views are extreme. When she almost falls in love with a hippy, her description of him as a sliver of light in a darkened room reflects both the life of her younger sister and our own refusal to part with consumerism.

Another excellent element of this show is the lighting and sound design. The lighting, provided by Pablo Baz, felt like a suitable homage to the horror film genre and adds so much to the eerie feeling in the auditorium. This teamed with brilliant sound design from Edward Lewis – providing deafening heartbeats and unsettling scratching noises above our heads - makes for top class horror fun.

Cuddles incorporates several playwriting styles and will certainly appeal to a wide audience. It is written by Joseph Wilde who has a wicked sense of humour matched with a sharp understanding of human nature. It is great to see a show which explores our humanity through an exciting supernatural storyline, while also maintaining high production values and a rich wealth of talent across the board. This show is tinged with real sadness and serves as a constant reminder of the struggle to live healthily in the modern world. The distinct emptiness and insatiable hunger that comes with consumerism is a ghostly presence in each scene and the fact that this idea is never discussed directly makes it even more effective.

Please feel free to leave your thoughts and opinions in the comment section below!

Cuddles runs at the Ovalhouse Theatre until 1st June 2013.

Box office: 020 7582 7680 or book online at http://www.ovalhouse.com/whatson/booktickets/cuddles

Everyone Theatre: An Interview with Tom Copley

2013-05-16T22:06:00.003+01:00

everyone theatre is a series of interviews with leading theatre practitioners in London. It’s their chance to make the case for getting into theatre, on either side of the curtain.

Courtesy of Tom Copley

This week’s everyone theatre interview is a little bit different. With all due respect, Tom Copley, a London-wide London Assembly Member for the Labour Group in City Hall, is not really a ‘leading theatre practitioner’! However, Tom is running a GLA investigation into the challenges faced by small theatres in London and has a strong personal interest in theatre. Tom has actually guest blogged for us in the past about his investigation, but he very kindly took some time out from his politician’s schedule to chat with us about why he loves theatre, and why small theatres in London are so important to him. Naturally, his hugely important investigation is also discussed.

Listen to the podcast using the player below, subscript to the series on iTunes, or read through the transcript below. Please feel free to leave comments at the bottom of the page!

Podcast Powered By Podbean

Everything Theatre: Welcome to the fifth episode of the Everyone Theatre podcast series. We are delighted to be here in City Hall with Tom Copley, who is a London-wide Assembly Member for the Labour Group here. More importantly, he is running an investigation into small theatres in London to find out what can be done to protect them and safeguard their future. Thank you for agreeing to speak to us today! Let's kick off – where does your personal interest in theatre come from?

Tom Copley: I think it all started when I was very young: I used to enjoy dressing up and performing, putting on shows for my parents and sisters... Well, I still do enjoy dressing up and performing, but it’s slightly different these days! That's what sparked it – it was an awful lot of fun. I kept on doing it over years, getting involved with local groups when I was at school and at university. I don't do any performance anymore – although people say that politics is all acting, which I disagree with actually, but that's another story! – but I still absolutely love going to the theatre. It's a wonderful thing to do, a wonderful thing to see.

ET: What's your local theatre, if you don't mind us asking? And do you have any recommendations of any small theatres you've been to which are consistently very good?

TC: Well I live in Kentish Town, so the nearest theatre to me is the Lion and Unicorn, which I visited just last week as part of my investigation to speak to the directors and staff. Aside from that, I am in a nice little patch in Camden where there are quite a few: the Lion and Unicorn, the Gatehouse just up the road in Highgate, the Etcetera Theatre in Camden Town.

In terms of other recommendations, I'd say the King's Head, which is a wonderful theatre (and it's just down the road from where I live). They put on some brilliant stuff, and it's actually the oldest pub-theatre in London. I was there just the other night, not for a play but just for a drink, but then they brought the show into the pub. It was a Verdi opera I think, and they brought the final scene out and did it standing on the bar!

I also went to see a very good play last week at the Finborough, again traditionally a pub-theatre, although the “pub” part is sadly currently closed. If they turn that old wine bar into a Tesco, it would be very, very sad indeed. I am going off on a tangent now, but this is a problem we have in London where pubs and theatres (and therefore pub-theatres) are in danger of being redeveloped because the owners think they could make a lot more money if they sold the space off to supermarkets or turned it into flats. That's something we need to be very vigilant about. Anyway, hopefully the Finborough will get a new wine bar soon!

"Theatres are in danger of being redeveloped because the owners think they could make a lot more money if they sold the space off to supermarkets or turned it into flats"

ET: We know that other theatres are having similar issues, such as Union Theatre...

TC: Yes, I was down there a few weeks ago speaking to them. The villains there are Network Rail, who are trying to make a quick buck out of turning the archways into posh offices. And this is a classic example of a local theatre which is totally embedded in the local community. In a way they are the victims of their own success. The theatre, and the other small businesses around the area, have taken a rough area and made it into a really rather nice place – and now that that is the case, Network Rail have realised they could redevelop and make a lot of money. I fully support the campaign to save the Union Theatre and the other local shops around there. It would be a real shame to uproot them. Actually, the local tenants’ association is really supporting the campaign to save them, because they are community spaces, and because they bring money into the local economy.

EDITOR'S NOTE: Since this interview was recorded we are delighted to confirm that the campaign to Save the Union Theatre and surrounding businesses has been successful!

ET: At this stage in the interview we like to ask people to give their 'pitch' for theatre. Given the initiative you're involved in, we thought we'd re-word the question. So, why do you think that small theatres are important, and specifically important to their local community?

TC: Well, I think they're important on several levels. Firstly, getting local communities into local theatres is actually easier than getting people to travel into the West End to see a show. And so many small theatres do incredible community work. For instance, I was up at the Bull Theatre in High Barnet last week – and the things they do there are amazing. They organise a whole street party every year. Then there is the Questors Theatre in Ealing who run a youth theatre, getting so many young people from the area involved who might not otherwise have done so.

On a second level, there is the economic benefit to the local area as well. Audiences coming in to a small theatre to watch a play might visit the local pubs, shops and restaurants, which can be hugely important to the local area.

"Audiences coming in to a small theatre to watch a play might visit the local pubs, shops and restaurants, which can be hugely important to the local area"

ET: We find there is often a misconception surrounding theatre, that it is an expensive hobby to have. Another benefit of Fringe (or Off West End) theatre is that local theatres often offer very decently priced tickets.

TC: Absolutely! In the West End, depending on the seat, you might pay up to £60 or more for a ticket. In your local theatre, you're more likely to pay £10 to £20 depending on the venue and the show. It's far cheaper, and there is no less quality. Fringe theatre, just like West End theatre, has some good shows and some bad shows, but you're as likely to see something of excellent quality in a small theatre. The best play I ever saw was at the Edinburgh Festival Fringe - where every available space is turned into a theatrical venue - in a conference room! It just goes to show it doesn't matter what the venue is, it's all about the quality of the production. And so I know there is some absolutely amazing stuff on London's Fringe.

"In your local theatre, you're more likely to pay £10 to £20 depending on the venue and the show"

ET: Will your investigation be looking into the use of non-standard spaces as theatrical venues?

TC: This is something I'm actually very interested in: bringing in disused buildings and shops to use as theatrical spaces. The GLA’s Economy Committee, which I am on, actually did an investigation into empty shops on high streets, and this was one of the methods we identified to bring them back into use – to turn them into pop-up venues, galleries etc. You could use them as performance spaces or as rehearsal spaces.

I'm personally also very interested in the immersive theatrical experiences, such as Secret Cinema. I have a friend who is involved in a group called The Stamp Collective, who are in the Theatre Delicatessen in the old BBC building, where they will be until it is re-developed. They and several other groups have been allowed to take that over and put on immersive shows. What I'm planning on doing is getting them into City Hall to do a piece in the chamber. I'd like to get people from local authorities in, because a lot of the time it is people in control of the councils who are reluctant to have their disused buildings used by these groups. I'd like to show them that it can be a real benefit to them and the local community to get these groups in for creative purposes.

Finally, I guess that the other thing about small local theatres is that you get so much cutting edge stuff there. So many writers and directors make their names from productions which have been on in small venues. And you don't necessarily get that cutting edge aspect in the West End, where it tends to be a little bit safer.

"The other thing about small local theatres is that you get so much cutting edge stuff there. So many writers and directors make their names from productions which have been on in small venues"

ET: Yes, in a way these small venues are the engines of the West End! Now obviously theatres come in all shapes and sizes, but your investigation is focusing specifically on London's small theatres. What led you to begin this investigation?

TC: Well, basically we have an opportunity within the Committees which we are on to do something called a 'rapporteurship', or a single-member investigation into a particular issue that we are interested in. At the start of the Assembly's year, various interest groups make a pitch for someone to do a rapporteurship. This year we had someone from The Theatres Trust come in. Being a theatre addict myself, I was of course particularly interested. We spent a little while assessing what the issues were, and whether we could actually make any meaningful recommendations. We came to the conclusion that there are indeed some important challenges, despite the fact that the sector is thriving in London at the moment. Although we have experienced a little renaissance of small theatres recently, there are some hurdles which could prevent this sector from expanding further or even cause it to contract. This is why we decided to take this particular investigation forward.

ET: And what are you hoping to be able to get out of the report you are going to publish as a result? What kind of recommendations are you hoping to be able to make?

TC: Well, of course we are still coming up with ideas, and we don't want to reveal everything too early, but there are a number of areas where we think we can make some useful recommendations. Now, bear in mind we want to recommend things that will actually happen, and are realistic; things that the Mayor or the GLA can actually put into action. One example is that one of the big challenges faced by small theatres is marketing. The West End swamps the arena for that: going up the escalator in the Tube you may see 18 posters for West End musicals, but nothing from the small theatre around the corner. The Mayor obviously has a lot of power over advertising in London through TfL, so we are looking at ways in which he might be able to help smaller venues that way.

There are also issues around the way the Arts Council distributes some of its project funding, so we might look to make a recommendation to them about way they could improve distribution of funds. We will also hopefully be able to make recommendations to help theatres with issues around their buildings. A lot of them are in fairly old buildings which can be expensive to maintain, especially if they don't have the capital upfront to make major improvements. So we are looking at ways we could help with that.

I don't want to give too much away before publishing the report, as it is still a work in progress. But whatever happens, I have made it very clear that I don't want this to be a report which gathers dust on a shelf: we want something practical and useful to come out of it.

"Whatever happens, I have made it very clear that I don't want this to be a report which gathers dust on a shelf: we want something practical and useful to come out of it"

ET: You mentioned before the interview that although the official poll is closed, people can still get share their views on your investigation?

TC: Yes, as far as I know we are still taking submissions. It people would like to submit their views or find out more, they should go to the London Assembly website at london.gov.uk/smalltheatres, all the information will be available there. You can also follow me on twitter at @tomcopley if you'd like to keep up with the investigation.

ET: Well thanks very much for your time. We wish you all the best with your project and the following steps!

The Anorak, Lion and Unicorn Theatre

2013-05-16T15:23:00.001+01:00

Adam Kelly Morton
Directed by Matthew Gould
★★★★

Pros: Strong acting and a captivating storyline.

Cons: The staging was perhaps a little too bleak.

Our Verdict: An accomplished and intelligent piece of writing performed with flair and intense emotion.

Courtesy of Giant Olive

Speeches are the old-fashioned status updates: most people tolerate them, others even encourage them, but more often than not they end up self-indulgent and utterly tedious. And like status updates, they should always be short and sweet. Which is why, whenever I see the word ‘monologue’ at the top of a theatre programme, I experience the same sense of foreboding you get when an actress thanks her hair-extension grower, or when a best man recites every joke he’s ever heard that contains a rude word. There’s really nothing worse than hearing someone bang on for hours about rubbish.

And so, here I was at the cosy-yet-stylish Lion and Unicorn pub in Kentish Town for tonight’s show, The Anorak. It tells the true story of a young man who went on a killing spree at a Canadian polytechnic. Interesting, I thought, but it's a one man show. Hmmmm....

But, as I keep forgetting, monologues aren’t speeches. If done well, they are deeply personal stories designed to lure you into the mind of the intriguing and engaging central figure. But that’s the risk: if there’s a flaw and the plot’s not good or the actor isn’t right, then you can be stuck without any chance of things picking up. There really isn’t anywhere to hide.

Luckily, this production had no such flaws. Little touches gave the piece an extraordinarily unique feel, none more so than the decision to segregate the audience into male and female sections (for reasons revealed later on in the play).

The actor, Felix Brunger, masterfully pulled off the feat of sustaining a French-Canadian-speaking-broken-English accent for the play’s hour-and-a-half duration. What’s more, the novel way he presented his story to the audience further enhanced the play’s extremely controversial content.

The stark set – pretty much all black – was cleverly transformed throughout the show, as the maniacal protagonist scribbled down in chalk certain important diagrams, numbers or phrases that cropped up. This drew the piece away from simply one man’s life-story, and instead gave the impression that we were witnessing an eerie and haphazard university lecture – somewhat appropriate given the setting of the massacre.

My one slight criticism is that this crazy genius chalk-scrawling was too understated: the set was pretty stark, and this was an efficient and much-needed way of bringing it to life. I was expecting a Jack-from-the-Shining-style descent into madness, with the black non-descript set turning ominously into a chalky, dusty nightmare. But that didn’t happen. So, as a result, I felt it lacked a significant gear change or crescendo needed to instil some extra drama into the account. At the climax, the character did show some deeper emotion and he did become more animated, but it could have done with a bit more visual excitement.

Yet this really is only a slight criticism of an otherwise excellently-written and thought-provoking piece. As mentioned, there was intense emotion throughout, highlighted by the actor producing real tears rather than just screwing up his face (I realise actors are meant to be able to produce real tears, but I still find it impressive). In fact, the play was so moving to some members of the audience that they too produced real tears.

Please feel free to leave your thoughts and opinions in the comments section below!

Anorak runs at The Lion and Unicorn Theatre until 18th May 2013
Box Office: 08444 771 000 or book online at: http://www.lionandunicorntheatre.com/index.php

Hamlet’s Fool, The Cockpit

2013-05-14T23:41:00.000+01:00

Written and performed by Peter Cutts

Directed by Mandy Fox

★★★★

Pros: An exceptional all-round play designed for the stage with imagination, creativity and talent. Fascinates from start to finish.

Cons: A rushed latter half and unnecessary musical interludes.

Our Verdict: If you want to explain to anyone what's so great about theatre, take them to this. A piece with plenty of thought invested in it that pays the audience dividends.

Courtesy of The Cockpit

There’s a saying about acting: “Movies will make you famous; Television will make you rich; but theatre will make you good”. Peter Cutts is a veteran of the stage and this production is enough to make any serious and aspiring stage actor stick with the medium. An entire idiosyncratic and entertaining gallery of personalities are embellished by Mr Cutts alone. His ability to hold your attention, fill the stage and provoke you to respond in just the way he wants you to is impressive.

The plot follows the court of Denmark, tracing back the original Hamlet figure to his childhood. I delight in plays like this; plays which are essentially fan-fiction. They are the yearning to see the hows, whats and whys that the author didn’t originally explicate. There has been a delightful amount of research put into the script which is evident in the nods to cadence, syntax and other side references which will delight the Hamlet aficionado. It does not, however, ostracise the Shakespearean novice and indeed is so gratifying in its own right, that one need know nothing about the original to enjoy this tale of intrigue, conflicting loyalty and feeling.

The first two thirds, as we delve into the unfortunate life of Hamlet’s mother, the kind but politicised King and the neglected young Hamlet are spell-binding. The plot rolls along, thickens and the urge to know how the saga will unfurl is delightful. However, the necessity to kill off our earthy and entertaining narrator, Yorrick the Fool, to zoom along with the established plot is rather unsatisfying. It felt like I was reading a child’s English exam whose imagination and skill weaves and incredible story, but is then told they have two minutes to finish before break time so writes ‘and then they all died. The End.’ Is this rushed final third possible to escape? I’m not sure. It might have to be a completely separate court drama unrelated but inspired by Hamlet. Alternatively it may need to spend more time behind the scenes of the play’s timeline itself so it isn’t just a prequel but a parallel.

My only other quibble was with the musical interludes, which felt unfinished. The same lyrics and score were repeated without adding additional interpretation, and after the second or third repetition they stopped having the effect of increasing intrigue and became slightly dull. I may be a more informed viewer than most, but I felt that the songs spelled out what had just happened – in a way that was very Shakespearean – but assumed the audience was unable to follow the events, which I do not think was the case. Perhaps if the show was more child friendly, this is could be a good use for their inclusion. But as it stood, it failed to add anything and was more a distraction to the unfolding excitement.

Overall, this production is a very fulfilling piece of theatre; the expertise of the costume, design and technical aspects are so masterful and so simple that if you need to explain to anyone why theatre is a power in its own right, you should take them to this. The closing moments are some of the best design and technical work I’ve seen. All through the piece every tool was used to emphasise and illustrate the setting and interpersonal relationships, creating a very full universe for the events to take place in. This play is minimal in everything physical but abundantly rich in thought and talent, and that makes this piece thoroughly absorbing.

Please feel free to leave your thoughts and opinions in the comments section below!

Sadly Hamlet’s Fool has now finished its run at The Cockpit.

For more information visit the Offcuts website at http://www.offcutts.com/Homepage.html or the venue's website at http://thecockpit.org.uk/show/hamlets_fool.

The Love Bites Plays: Apartment, Etcetera Theatre

2013-05-14T23:37:00.000+01:00

Craig Donaghy, Ziella Bryars, Jack Fiehn and Daniel Frankenburg

Directed by Sophie Davies, Ziella Bryars, Nikita Strange and James Veitch

★★★★

Pros: Clever, short, sharp scripts performed by a solid cast. Leaves you wanting more.

Cons: A little unpolished at times.

Our Verdict: Short, sharp bursts of good quality theatre. Perfect for a mid-week theatre trip.

Courtesy of The Love Bites Plays

As a regular theatre goer, I am used to seeing shows of all lengths, from the twenty-minute one act play to the three-hour Shakespeare. Perhaps after a succession of longer plays though, I can't help but feel that there is something wonderful about “bite-size” theatre: shows which leave something to the imagination, which leave you wanting more, and which get straight to the point. There is a place for watching theatrical epics spanning hours as an inevitable conclusion slowly draws to fruition, but after a long day at work, sometimes all I want is to sit down with a pint and watch some good, short theatre to make me think, laugh and smile. If you are like me, then The Love Bites Plays will be your perfect evening out.

The concept of The Love Bites Plays is fairly straightforward: it is a recurring theatrical evening which showcases the work of emerging writers, actors, and producers through the medium of four one-act plays. The theme, too is recurring – Love and Relationships. Each event also has a different slant, and on this occasion, the evening focussed on accommodation. The production was held at the Etcetera Theatre in Camden – a cosy and relaxed venue, which was perfect for the theme.

We were treated to four plays. The first was Zoned Out by Craig Donaghy, a monologue about a young woman moving out to the London suburbs to live with her boyfriend… and then moving back towards the centre when things don’t work out. The second was Apartment 101 by Ziella Bryars, and this revolved around a young woman taking relationship advice from a stranger subletting a room in her flat. This was followed by The Favour by Nick Fiehn, which explored the difficult reality of a couple moving out after splitting up. Finally, St Sebastian was about a young professional getting an electrician round to his flat to settle an old score. Each of the plays was well crafted and left me wanting more: some made me smile, others got me a bit emotional. Whether the viewer has been in a long term relationship or not, whether they have lived with a partner, moved in with a partner or moved out from living with one, there was something to relate to.

The scripts were backed up by some solid acting and enjoyable performances. Although on occasion some of the scenes could have been a bit more polished, the production felt very fresh and vibrant. One stand-out performances for me was Thea Beyleveld who performed Zoned Out with jittery, almost manic zeal, whilst still allowing an underlying sadness shine through. Samuel Dent also gave a great portrayal of Zak, the young overly-helpful American subletting a room in Apartment 101. These were just a few of my personal favourites, but in general the cast were strong interesting to watch. Credit to this group of young actors and their directors for that.

The bottom line is that The Love Bites Plays are the exact remedy to a long day at work: short, sharp bursts of high-quality theatre which allow you to relax, unwind and not keep checking your watch for fear of missing the last train home. Sure, it may be a little raw, but sometimes that's exactly what fits the bill.

Please feel free to leave your thoughts and opinions in the comments section below!

Sadly, The Love Bites Plays has now finished its run at the Etcetera Theatre.

For more information, visit their website at http://www.thelovebitesplays.com/, or visit the venue’s website at http://www.etceteratheatre.com/.

The Gut Girls, The Space

2013-05-13T12:18:00.000+01:00

Sarah Daniels

Directed by David England

★★★★

Pros: A funny, hard-hitting and incredibly well written play.

Cons: The large space made for a tricky acoustic meaning some speech is lost every so often.

Our Verdict: A seriously fantastic play that, despite its Victorian setting, is incredibly relevant to society and women today.

Courtesy of The Space

Victorian South East London: the docks are alive and buzzing with traders, ships and livestock ready to be sent to the slaughter sheds. It was during this time that the 1869 Cattle Diseases Act was implented, stating that all livestock must be slaughtered upon their arrival to the dockyard, to prevent any diseases from the foreign livestock spreading across England. Due to this act, more than 500 women were employed to work in the slaughterhouses' gutting sheds. They worked thirteen hour days in these stinking sheds, up to their elbows in organs and entrails. Often percieved as mouthy and unruly, the girls had a rare degree of independence for the time. They were called 'the gut girls', and are the heroines of Sarah Daniels’ fantastic play.

The play begins on the day that Annie joins four other girls in their shed for her first day. The characters are established very quickly in the dialogue that follows as they introduce themselves; Polly is funny, Maggie is strong and outspoken. Kate is the baby of the group but has the foulest mouth of them all and Ellen is the women’s rights enthusiast and, much to the confusion of the other girls, the only “lettuce eater” (vegetarianism wasn’t a term the Victorians were overly familiar with). Each of the characters is brought to life by the cast who remain committed throughout the play. Although the changes they undergo as Lady Helena begins her rehabilitation of their behaviour are drastic, their performances never waver.

The production is staged at The Space, a converted church on the Isle of Dogs used for various theatrical ventures. Director David England has made excellent use of this wonderful performance space, using every available entrance around the room and even, at one point, the lighting balcony. The play is full of movement and there are no static conversations. even in scenes where the girls are simply working with guts (very realistic but thankfully not smelly at all).

The two acts of the play could not have been more starkly contrasted against one another. The first sees the girls in all of their boisterous glory, bantering and drinking and whilst working hard under merciless conditions. Daniels’ script rings out with feminist humour and a discussion of the use of sausage skins to prevent impregnation was a particular high-point for the audience. Behind the bawdy laughs, however, lie serious depictions of the vast gender inequalities of Victorian England. In the first act, the girls give as good as they get but when they lose their jobs and are forced to train for service, the audience watch as the exquisite vivaciousness of the characters is squeezed right out of them and replaced with mop caps and bad tempers. Then comes an extremely grave consequence for one girls at the hands of the brutal master, chillingly portrayed by Louis J. Parker.

The devastation of the second half is intensified by Katharine Blackshaw’s wonderful performance as Lady Helena, an aristocratic woman who truly believes she is training the girls for the good of their lives and their souls. In reality, her training serves only to crush what little spirit society had allowed them to keep hold of. The final monologues, given in quick succession, convey utter defeat and submission. In the space of two hours, we witness five exciting characters transformed by society into drab and unhappy creatures whose most exciting prospect is to one day become head maid or a chief nanny in the service of their ‘superiors’. The Gut Girls is an accurate depiction of the subordination of women in Victorian England. However, given the numerous recent high-profile stories in the news concerning violence towards women and girls, I left the production thinking that perhaps The Gut Girls isn’t so far from our reality either. There was a lot to be learned from this near-flawless production, which was touching, thought-provoking but, above all, immensely entertaining.

Please feel free to leave your thoughts and opinions in the comments section below!

The Gut Girls runs at The Space until 25th May 2013
Book online at http://space.org.uk/event-booking/?event=thegutgirls

The Government Inspector, Ovalhouse Theatre

2013-05-12T20:41:00.000+01:00

Nikolai Gogol

Directed by Lucy Richardson

★★★

Pros: An interesting take on a familiar classic.

Cons: Everyone was so interesting to watch on stage that it was hard to decide who to focus on at any one time.

Our Verdict: A comedy of errors with a healthy dose of slapstick humour.

Courtesy of LMU

Recently I watched a ‘comedy’ on the fringe that, unfortunately, I didn’t find very funny. With dramatic plays, much can be forgiven if it’s not enjoyable. If it falls under the umbrella of ‘drama’, we can ignore the mumbling of words, a poor set design or even when we don’t fully understand what a play’s about. However with comedy, if a play or film isn’t funny, we judge it more critically, as it failed to do the one thing it was supposed to do – to make us laugh.

With this in the back of my mind, I was apprehensive about what lay ahead that evening. Would the Performing Arts students of London Metropolitan University (LMU), step up to the plate and deliver something really spectacular?

Once I walked past the Oval cricket ground, my apprehension started to subside. You know how in Salem’s Lot, the Marsten House was supposed to instil a sense of foreboding to all that saw it? Well my first sighting of the Ovalhouse theatre that night had the opposite effect on me, which I thought was a good sign. “So far, so good,” I thought.

As I sat down in my seat, I, along with the rest of the audience were greeted (or rather grunted at!) by one of the cast, a police officer played by Loreen Paris Jack. While the rest of the audience took to their seats, Loreen proceeded to yawn, wheeze and snore through various states of sleep – a masterclass of wordless mirth like the silent film stars of old. This, we would soon find, set the tone for the rest of night’s proceedings.

The Government Inspector, while very famous, has a very simple plot that is ideal for a farce. A small town learns that an important official will be visiting their town, albeit incognito. Assuming the latest stranger at the inn is the eponymous inspector, they lavish all manners of favours on him, succumbing to his every whim. By the time the stranger’s ruse is exposed, it is too late: the town hear that not only is the real government inspector on his way, but he also knows about how they let themselves be fooled by their latest visitor. If this seems familiar to you, you might remember that episode of Fawlty Towers where Basil is twitchy at the potential arrival of a hotel inspector. But I digress.

The play itself had an emphasis on physical comedy – much like a sitcom that was once a firm favourite with students. If you’ve ever watched The Young Ones with Rik, Vyvyan, Neil and Mike, you know the sort of anarchic energy they had which permeated everything. Subtle, gentle humour had no place in their repertoire and neither did it in The Government Inspector!

All the Performing Arts students of LMU performed with gusto and were fearless. Had they performed with less energy or ‘played it safe’, I doubt that it would have been half as entertaining. The whole cast performed admirably and when they weren’t actually saying anything, they were always interesting to watch as they were always doing something on stage.

Particularly memorable were Hannah Elshaw and David Goodwin. From the moment they walked on stage, the pace of the play shifted up a gear into Blackadder territory. It felt like I was listening to Queenie and Percy in batting playful banter to each other, and was a delight to listen to. Also memorable were Daniel Sado as the wry waiter, who could convey so much with an eyebrow and his droll delivery, and Tiffany Nugent who played the Mayor’s frisky daughter. Her facial expressions and exaggerated body movements had the audience in hysterics. Meanwhile the ‘Government Inspector’ himself, Kheleyestakhov (played by Edward Smith) channelled the flamboyancy of the late Richard Griffiths’ ‘Uncle Monty’.

The audience that night loved the production, and whooped and cheered at all the earthy humour. As for myself, I had at least three ‘laugh-out-loud’ moments, so I must have been enjoying it! Looking at the play objectively, I’m sure the physical comedy won’t be everyone’s cup of tea, but as a final production by the LMU Dramatics Arts graduates, it was an admirable effort.

Please feel free to leave your thoughts and opinions in the comments section below!

The Government Inspector has sadly finished its run at the Ovalhouse Theatre.

For more information visit http://government-inspector.webs.com/ or http://www.ovalhouse.com

Don Pasquale, The Sun Tavern in Covent Garden (site-specific)

2013-05-11T12:43:00.000+01:00

Gaetano Donizetti, in a new production by Clementine Lovell and Darren Royston

Directed by Darren Royston

Musical Direction by James Henshaw

★★★★

Pros: It’s really good! The singing is very enjoyable, it’s funny and well-acted. I love the slide narrative – informative and humorous with a modern twist – it’s not a literal translation but enough to really get the gist of the story.

Cons: It is a little bit hammed up, but it is supposed to be. I did get wet from a water pistol at one point, which didn’t please me!

Our Verdict: The actors bring the story to life with humour and the space and minimal props are used well. Definitely worth seeing if you are new to opera and I’m sure that seasoned opera-goers may enjoy the change.

Courtesy of Pop-Up Opera

Opera has always struck me as one of those things you have to understand to appreciate; you have to study and listen to it a lot to enjoy it. After seeing the Pop-Up Opera’s production of the comic Don Pasquale in a pub in Covent Garden, I have completely changed my mind about that. I know nothing about opera, I didn’t understand most of the Italian sung, but I thoroughly enjoyed the story and the humour thanks to this fresh, modern take on bringing opera to a wider audience.

It’s a classic tale of lovers on the wrong side of the tracks, deception and happy endings, the details of which are very considerately laid out in the program. Don Pasquale (Raül Baglietto) an older, wealthy gentleman without an heir to his fortune, is looking for a young bride. His Nephew, Ernesto (Cliff Zammit Stevens) is in love with the impoverished, unsuitable Norina (Clementine Lovell) and Don Pasquale forbids them to marry. So the Doctor, Malatesta (Ricardo Panela), contrives a plot to disguise Norina as ‘Sofronia’ and marry her to Pasquale. Once married Norina causes trouble and drives Pasquale to divorce her, and she marries Ernesto. There are a lot of hijinks and mayhem along the way – it’s a very colourful and comedic story, fantastically narrated by a small number of descriptive slides that highlight the essence of what is taking place.

If you have read the synopsis the slides are hardly necessary thanks to the excellent acting that underpins the music. Baglietto is a gruff and surly old man, humbled and left stammering by the beautiful Norina’s antics. Baglietto stands out for me, as there is so much expression in his voice and his body language that it is easy to get a feel for what he is saying. Stevens plays a hapless, lovestruck youth with warmth and likable awkwardness. Panela brings conspiratorial pleasure to the plot, as he meddles with the hearts of Norina’s two beaus. Lovell has a lively, vibrant presence to the performance as the sole female part. To my untrained ear the singing is enjoyable and dramatically brings the characters to life. There is a lot of dynamic between the way the four performers sing and this seems to enhance the personality of the parts.

The program says that Darren Royston is the stage director, but to my mind he lynchpins the entire performance. He sets the scenes, introduces the props and set changes and provides an abundance of humour and light-hearted slapstick comedy throughout the evening as an extra on the set. His performance as the non-singing Notary is hilarious – Royston clearly has a comprehensive understanding of stage direction and comic timing and there is a glimmer of uncomplicated genius about the adaptation of the drama to the space in which it was performed.

I really enjoyed this performance and I take my hat off to Clementine Lovell for forming this company and developing this fantastic concept. The idea of taking opera into unusual settings and making it fresh and interesting has certainly been achieved in this performance. The Pop-Up Opera Company is touring the country and I recommend you catch them, particularly if you are an opera novice like me,. This is a unique and very accessible format and makes for an easy introduction for opera newbies and a refreshing change for opera lovers.

Please feel free to leave your thoughts and opinions in the comments section below!

Don Pasquale runs at various locations around the UK until 20th July 2013.

For details of the tour, visit their website: http://www.popupopera.co.uk/performances.php

All I’ve Known, Chickenshed Theatre

2013-05-11T11:42:00.001+01:00

Written and directed by Rachel Yates

★★★★

Pros: A lovely set design. Deeply moving performances from all of the cast.

Cons: Somewhere around the middle I felt it went a little slower than necessary. The show covers a lot of material but there was so much to take in I felt it could run straight through.

Our Verdict: A strong attempt to explore the thoughts and feelings of the UK foster care system. Worth seeing!

Courtesy of the Chickenshed Theatre

The Chickenshed Theatre was surrounded by children of all ages as I arrived. An Arts Centre that focuses on the performing arts, this wonderful company has made its home in a purpose built theatre, studio and workshop space. Its emphasis is on inclusion and it now boasts workshops, theatre shows and the opportunity for young people to do both BTECs and BAs. Amazing stuff.

All I’ve Known was performed in the Studio Space. Tucked away upstairs, the studio is a deep room with two tiers of seats and a well-shaped floor for performance. The first thing you notice is the set. The whole room is surrounded by white cloth. Layers and layers of hanging washing give the set a complexity that is hard to achieve in a studio space. The rest of the set is basic: six white stools surround three tables made into one; black and white photos adorn the shelves at the back; and red tulips create a stark contrast with the plain colours of the rest of the set. This simple yet thoughtful design sets the mood for what turns out to be a considerate play.

The show is a chronological story of a family and their adopted son Harry – a black child fostered by a white family – interwoven with the stories of others, both adopters and adoptees. It was a pleasant mix of recorded interviews and actors performing verbatim with the specific story in the middle, gluing the show together. We weren’t expected to just watch, we were expected to understand.

The cast deliver a strong ensemble piece. No one actor outshines the rest which seems appropriate in such a show as this. Their scenes as a family unit were especially touching and they truly make you believe they were siblings and parents who continued to love each other despite the ups and downs.

The soundscape adds another dimension to the show. The use of the real voices of those interviewed by writer and director Rachel Yates gave added emotion to the piece and I particularly enjoyed the method of interweaving pre-recorded sounds with live action, often as scenes were changing. The show also uses projection as another means of explaining the intricacy of the subject. Photos were an important instrument used to show children their history before and after adoption. The show’s use of photos and videos of what – I presume – were real events, was an attempt to visualise these complex situations on stage. Unfortunately however, a lot of the photos weren’t very clear and I couldn’t make them out.

My one other criticism is that I felt that perhaps a few too many subjects were covered. It did help the audience to understand how complicated these situations are, but I can’t help but think that I came away a little overwhelmed by it all.

All I’ve Known is a worthy piece and writer Rachel Yates clearly has a huge amount of respect for the subject and the people, both parents and children. She delicately balances their interviews and doesn’t abuse anyone’s emotions. Often it is what is left unsaid that hits hardest and Yates should be celebrated for knowing how to do this. The play is well thought out and the Chickenshed Theatre is definitely worth a visit; they are doing some thought provoking work out there.

Please feel free to leave your thoughts and opinions in the comments section below!

All I’ve Known runs at the Chickenshed until the 18th May 2013.

Box Office: 020 8292 9222 or Book online at http://www.chickenshed.org.uk/2422/shows/all-ive-known.html#buytickets

The Burial, The Albany Theatre

2013-05-08T20:49:00.001+01:00

Bola Agbaje
Directed by Franko Figueiredo
★★★★

Pros: Fantastic, polished design and an excellent script with a great balance of drama and comedy

Cons: The chemistry of the cast was at times a bit inconsistent

Our Verdict: A well-produced and unique production by an acclaimed writer in a great space – you can’t go wrong!

Courtesy of The Albany

The Albany Theatre in Deptford is currently home to The Burial, a new play by acclaimed playwright Bola Agbaje. It is a production which spans generations, continents, cultures, and religions to tell the story of Fumi, who has been disowned by her father after moving from Nigeria to London and marrying a Buddhist man, Ike. When Fumi receives word that her father has died, she is forced to face their differences, and to cooperate with his wildly dramatic wife and mistress, in order to settle his affairs and find closure. The play is part soul-search and part family comedy, and is without a doubt an engaging adventure from start to finish.

It was my first trip to the Albany – an excellent venue in Deptford with a lovely modern café and excellent large and versatile performance space. The prime space allowed The Burial to be visually stunning, really adding an extra element to the show. The design is fantastic – staged in the round, a platform of hardwood floor rises out of a dirt bed, from which mementos of the past protrude, half-buried. The entirety of the play takes place in the front room of Ike and Fumi’s London flat, which is embellished with simple modern pieces and Ike’s meditation table. Lighting plays a huge role to establish between dream sequences and reality, and Derek Carlyle’s lighting does an excellent job of setting the mood throughout. The most unique and effective element is the live African drumming which echoes in the theatre throughout the production. Sola Bankola, the percussionist, is visible just beside the main entrance to the stage, and his rhythms set the tone for each scene.

The show is well cast, featuring four lead actors supported by a small ensemble. All characters are family, though none are related by blood, and the cast does an excellent job of negotiating the tricky relations among them, especially considering the events of the patriarch’s death. Arguably the best aspect of the play is the conflict between Fumi’s stepmothers: her father’s legal, estranged wife, Aunty Iyabo, and the mistress he took as his wife in Nigeria, Ngozi, who was first a childhood friend of Fumi’s. Aside the obvious issues that come into play when a former wife and a current wife must collaborate, Iyabo is a Muslim while Ngozi is a Catholic. Their bickering is the life of the play in many ways. Karlina Grace (Iyabo) and Pamela Okoroafor (Ngozi) have a wildfire chemistry – it’s impossible not to be utterly engaged in the pair’s every interaction – they are strong, determined, and self-entitled women with an abundance of sass, and the resulting clash is beyond entertaining. While Kemi-Bo Jacobs (Fumi) and Tunji Lucas (Ike) keep the narrative grounded, their scenes leaned more often towards dull then those that features Grace and Okoroafor.

Bola Agbaje’s script is truly triumphant; it balances comedy and tragedy with ease and grace, and never fails to use beautiful language, without seeming flowery or over-indulgent. Her characters are strong; all three women are powerful figures moving through their own struggles with strength and integrity, and Agbaje creates a truly interesting dynamic between all of them, even if Iyabo and Ngozi shone a bit brighter in this particular production. It’s an excellent piece, well-polished and unique, and certainly continues Agbaje’s upward trend over the past several years.

Please feel free to leave your thoughts and opinions in the comments section below!

The Burial runs at the Albany Theatre until 11 May 2013.

Box Office: 020 8692 4446 or book online at http://www.thealbany.org.uk/tickets/924/Theatre/The-Burial

The Weir, Donmar Warehouse

2013-05-07T11:15:00.000+01:00

Conor McPherson
Directed by Josie Rourke
★★★★

Pros: A relatable script, great cast and a beautiful set make this a theatrical experience that draws you in and makes you feel like you are in a country pub in Ireland, eavesdropping on the locals.

Cons: No real negatives to mention – it’s funny, touching and enjoyable but not very exciting or dynamic. There is nothing really to challenge or chew over.

Our Verdict: This is a lovely, quiet, funny, heartfelt play that seems to capture the essence of the soul of the Irish country life, and the ghosts of the past and the present. A nice play, which I think would appeal to a wide audience.

Courtesy of The Donmar Warehouse

Walking into the Donmar for this production, I was struck immediately by the set. A small, shabby,

run-down pub with every detail seen to, from the torn box of crisp packets to the left over scrap of

tinsel on the corner of the bar - for all money it could be one of those locals we all used to stumble into before Gastropub was a ‘thing’. The set of The Weir is fantastic, it even smells like a peat fire is burning and instantly you feel you are there. And that is where you stay for the duration of the play. It is one evening in a local in rural Ireland, and here we meet the regulars, hear stories about their day, the old times, the ghosts and faeries that haunt them still. This particular night is different, there is a newcomer to the area, a woman on her own from the city. Her presence provides the catalyst for telling stories and draws out the personalities and cleverly crafted characters of the stalwarts that are in the pub every night. The newcomer has a story of her own, and these tales form the basis of the script, which poignantly reveals the life of the village past and present.

The production is perfectly cast and as we expect from the calibre of the Donmar’s reputation, the characters are brilliantly brought to life, so credible even in their most vulnerable moments. First we meet Jack (Brian Cox – no, not the professor!), an older, enduring character, full of the craic and the blarney, who fires up the evening with more than the odd ‘small one’. Cox is brilliant, so believable you would swear you have met him before. Then in comes the landlord, Brendan (Peter McDonald) a quiet, unassuming younger man who inherited the pub, the house and land upon his parents passing. Brendan personifies the wrench between the old ways and the new as he struggles to decide whether to sell the top field for development. McDonald evokes a really genuine gentleness to this character, a resignation almost without effort. They are joined by Jim (Ardal O’Hanlon of Father Ted fame) an awkward, socially inept country lad, still living with his ailing mother, past the point of a life of his own. I was a little dubious about O’Hanlon as I have a strong perception of him from his TV days, but he is such a fine actor that this was quickly put to rest. O’Hanlon portrays his character with such touching delicacy, he is by far my favourite character of all of them.

The atmosphere tangibly shifts as Finbar (Risteard Cooper) arrives with Valerie (Dervla Kirwan). Finbar is a local boy who left the area and has made it big in the city, only to buy up the town. In his capacity as local landowner, he is showing the new comer Valerie the sights, throwing his newfound wealth and city charms about. Cooper really gets the dual aspect of this character, the puff and bluster tinged with insecurities. Kirwan’s character, although present throughout most of the play, has little to contribute until she adds her own story to the evening’s tales. Kirwan is well cast in this role and sits comfortably amongst the stronger male parts.

There is not too much more that can be said without spoilers as this play is really about the characters we meet and the ghosts of their past. This play has oodles of easy humour, touching poignant moments, strong characters that are excellently performed and a fantastic set – all the ingredients for an enjoyable show for all generations.

Please feel free to leave your thoughts and opinions in the comments section below!

The Weir runs at the Donmar Warehouse until 8th June 2013
Box Office: 0844 871 7624 http://www.donmarwarehouse.com/whats-on/donmar-warehouse/2013/the-weir