Month: March 2024

In Conversation with Hide and Seek’s Loris Scarpa and Nico Cetrulo

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Following its successful run at Vault Festival, Hide and Seek will be making its Off-West End premiere at Park Theatre this March. Written by Tobia Rossi, translated and directed by Carlotta Brentan, and starring Loris Scarpa as Gio and Nico Cetrulo as Mirko, Hide and Seek explores bullying, homophobia, and the power of connection. Facing discrimination, Gio runs away from his town, isolating himself in a cave. When fellow-teenager Mirko discovers him there, he becomes Gio’s connection to the world beyond the cave. In this interview, Loris Scarpa and Nico Cetrulo speak about their experience working on this play and the importance of the piece’s message.

What is important to both of you about telling this story at this moment in time?

Loris Scarpa: There are so many things that make this story important, and I mean, for me, the way that social media is such a huge part of everyone’s lives, for better or for worse, and sort of the dependence that we have on that, teenagers especially. When you’re a teenager, you put so much value on certain things, like high school politics, classroom politics, and how that feeds into social media and how toxic it all is. I think personally, it took me a long time to like, develop a healthy relationship with the way that I view social media and the way that people view me through it. Just talking about those things, I think, is important, and the effects it has on people. 

Nico Cetrulo: Social media can change your perspective and your view on things. It can guide you in a certain way that if you don’t truly understand yourself and your morals and your views, you can get misguided in a lot of forms. And the beautiful thing about this play is there is that influence, and you hear, and you see, and you feel it throughout the play. But when two people connect without social media being present, you really hear the truth and the authenticity of that person. It’s a bit like having slides in front of you. Once you remove them, you see this beautiful thing that you didn’t even know was possible or available to you as a person.

Loris: Yeah, that’s such a good point. And the whole thing of the, like real life consequences of things that happen as opposed to the way that we view social media and how you think consequences don’t really exist in social media, but then you’re actually doing things that have real life effects, for better or for worse. It’s a tool that really connects people as well. Like, I won’t say too much about what happens in the play, but there are moments in which you see like, wow, [social media] is connecting all these people and in a really real way. And then, at the same time, it really separates them. I mean, there are so many other really important things about this play, and that was that’s just one of them.

Nico: Yeah, that’s true. Homophobia is a huge topic in the play. It’s, there’s just so many important reasons why people need to come to a play like this.

Sort of keeping on this social media train of thought, social media seems to spiral further and further out of control as time goes on. Do you think that how social media evolves will influence audience’s experience of Hide and Seek in its future runs?

Loris: Yeah, I think probably. I hope that like there will be some like, legislation or something happening to sort of help mediate the negative effects of it. And so maybe like, maybe there’s a future where people look back on it like, “My God, isn’t it crazy that people would interact with each other in this way? And things were just completely unregulated?” So maybe there’s a future in which people look back and go, “Wow. Isn’t it wild that we let this happen to the kids?” That’s really speculative, but who knows? 

Nico: I think even from the start of the play, where it was 2019, look where we were as humans in 2019 and how we are now in 2024. Yeah, it has changed so much. I think this is a driving force of this play. We see right now with like AI. So, I think in future times, whatever happens with, you know, the world and the profession, people can look back at [this play] and be like, wow, that’s someone’s emotions that can touch so many different people and it’s a real thing. And when was the last time we had something so real and so vibrant, so joyful and so sad and so hilarious? 

What is it that drew you to working on this play? 

Nico: Personally, I love new writing. I read this play, and I was taken aback because, there’s not a moment where you pause, or you’re bored, or you switch off. There are so many places that it takes you. The team helps so much. Obviously, I did the Vault Festival last time and when I had the offer to do it again, I snapped at it and said yes, completely. Because the team that we have here, they’re so wonderful. And Tobia, when he’s in rehearsals, he really expresses the characters to you. And if you do something a little different, he goes, “I never thought of Gio or Mirko as that. That’s a really interesting take.” And it’s, you know, it is an accepting place. But before Vault, having just read it, I thought it was a story that needed to be told. When you really just hear two people talking about their feelings, there’s no room for someone to tell you how you should feel. You’re just being open and beautiful with another person. 

Loris: Yeah. Nice. I agree with all of that. This is the first time I’m doing it, so I didn’t do it at Vault. I mean, as soon as you read the script, you’re like, why wouldn’t you want to do a project like this? Like, the writing is just beautiful and like, so specific and really touching and, and you just see the characters instantly. And what, what an amazing challenge as an actor to, to be given the gift to try and bring these amazing characters to life. Like, you know, you can’t ask for a better project than that. And again, the team is so good. 

Nico: It’s a beautiful challenge. Like you said, we don’t have, we can’t hide. You know, it’s, I don’t know how long this version will be, but there’s minimal props and there’s two people. You cannot hide. It blacks out, Gio’s still active, doing things, you know, and people will be looking at that and then Mirko enters with energy every scene. You cannot hide.

Is there anything about your characters that you’re hoping will prompt the audience members to do a little bit of introspection after watching the piece?

Loris: I mean if, if people were able to look at parts of themselves that they that feel unable to fully express around people and if they were able to just go, like, it’s okay, yeah, that’s fine. And there is no reason why anyone’s opinion of the way I want to be should stop me from doing that. That would be beautiful. Yeah, then mission accomplished. 

Nico: You know, I think for myself, to choose niceness, too. When I read Mirko, it taught me a lot because there was a period in my life where I related so much to him. I was part of a large friendship group in high school, and you do anything to fit in. And I always chose niceness as a person. And I think Mirko does, but he knows he has to put a face on in public. When he is in a room alone, he’s a very different person. I would say to people when they’re looking to Mirko, if they relate a lot to him, just understand that, you know, there is nice bits to you. You may feel like you’re bad. You may feel like you’re doing this, but there’s a purpose and a reason for absolutely everything. So just find that niceness and that positivity that you find that you have. Deep down. 

We’ve touched on this topic a bit, but theatre globally tends to have a hard time attracting younger audiences to shows. Do you think shows like Hide and Seek that speak specifically to issues young people are facing will succeed in changing the age demographic of the typical theatre goer? 

Loris: I think from what I can remember in Italy, [schools would attend productions] of Hide and Seek.   

Nico: Which is great. They have two, like, actual 15-year-olds playing the characters. And then all the teenagers ask them questions after the show. And obviously there’s a lot that happens in the play so there are professionals and therapists there to talk to them, to ask them, how do you feel around this topic and that topic? 

Loris: So sick, and also, I guess that is a way of showing younger people how valuable theatre can be as a form of like, I don’t want to say therapy, but like, in a way, can be therapeutic. I think that you had some schools come in to the last run [at Vault Festival], or did you?

Nico: Yes, we did, and I think we have some coming this time. 

Loris: Which is amazing. And so important and like so, so happy that that has been arranged. We have a great team.

You can buy tickets to Hide and Seek here – running at Park Theatre from the 12th to 30th March

FEATURE: Barrowland Ballet’s Chunky Jewellery

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Leading contemporary dance company Barrowland Ballet present the world premiere of new production, Chunky Jewellery across International Women’s Day and Mother’s Day.

Scotland’s leading contemporary dance company Barrowland Ballet is excited to present the world premiere of their new production Chunky Jewellery, co-created by the company’s Artistic Director Natasha Gilmore, artist Jude Williams and Ben Duke of performance company, Lost Dog. 

‘Chunky Jewellery started as an mirthful anecdote about a piece of jewellery that Natasha was given for her birthday. We started riffing on the title and the possibilities of unfolding our lives into art. I mean, what else will you do with life’s challenges as an artist, but try to bring it into the  light?  

Our lives authored Chunky Jewellery. The work is intimate, entwined and autobiographical, with stories that overlap birth, grief and death. It explores the sustained thread of friendship, during  achingly, wild and beautiful heartbreaking times.’ 

Co-creator and Performer, Jude Williams 

Opening on Saturday 9 March 2024 at Tramway in Glasgow, Chunky Jewellery will be performed at 2.00pm and 7.30pm. Raw, open hearted and brutally honest, it focuses on two  friends, one year, two births, a death, 18 bursts of laughter, 34,000 tears (each) and one piece of chunky jewellery.  

It was a year to forget but instead Natasha and Jude decided to make it into a show. 

Using words, dance and song to offer audiences an alternative love story, Chunky Jewellery is a personal and poignant autobiographical piece that celebrates friendship, motherhood and womanhood.  

Presented at the time of International Women’s Day and Mother’s Day, it focuses on the stories of women in the middle of their lives as they care upwards to their parents and downwards to their children – the middle of birth and death.

Chunky Jewellery sees Natasha Gilmore return to performing in a work that is co-created by herself, Jude Williams and Ben Duke.  

Alongside this partnership, the creative team includes Davey Anderson as Composer, with original songs by Jude Williams, Elle Taylor as Lighting Designer, Shizuka Hariu as Set Designer  and Vicki Manderson as Associate Director. 

‘Friendship is at the heart of Chunky Jewellery, like an alternative love story.  

The title of the work came from a playful conversation Jude and I had about chunky jewellery  and how it signified women of a certain age. It focuses on the stories of women in the middle of  their lives, taking our personal experiences, and making it universal. The title captures the humour of the work and of our laughter filled relationship. The jewellery women wear and are gift ed over their lifetimes tell a story.  

In this production, Jude, Ben and used our different experiences and skills. Using dance, song  and words we invite audiences into our lives; centring humour to act as a balm when things are tough.’ 

Natasha Gilmore

‘I’m delighted to have co-created and directed Chunky Jewellery. As a choreographer and director, my work sits mixes forms so to have the opportunity to collaborate with Barrowland Ballet,  Natasha Gilmore, Jude Williams and the full creative team on a personal piece that combines  song, dance and words was a joy.’ 

Co-creator and Director, Ben Duke

Presented in partnership with Tramway, with support from Creative Scotland and The Work  Room, tickets and information for Chunky Jewellery can be found via Tramway: https://www.tramway.org/ 

REVIEW: The Imposters & That Thing We Do

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Rating: 4 out of 5.

The double act effectively flummoxed and bewildered the audience with an array of imaginative improvised scenarios

The Scottish Storytelling Centre, along with other Edinburgh venues, played host to quite the lineup this week commencing its sixth year of the Edinburgh International Improv Fest. Saturday night boasted an impressive double act. Each in turn took to the stage in proper improvisational fashion to a rowdy audience to deliver some utterly ridiculous comedy. 

First to the stage were Shetland’s own Imposters who took us on a joyous and measured journey starting with a sandwich and ended with sexual propositioning all at a woman’s wake. 

The trio demonstrated excellent comedic timing, impressive wit and had a fun time teasing the narrative out of their fellow troupe members while keeping the audience on their toes. It was expertly done and each had a clear respect for one another as performers and people which gave the whole improv a fun and familial edge. This group has obvious chemistry and trust in one another that can only come from consistent and dedicated work together and it all paid off. It was a thoroughly enjoyable experience with just the right amount of second hand embarrassment. The only thing that could have made this group better would be volume as the quieter bits did have a tendency to fade off and get lost in the auditorium at times.

The second act welcomed That Thing We Do, an improv company representing Inconspicuous Comedy in Copenhagen, Denmark. Chaotic and absurd from the beginning, this company had the audience (and one another) in stitches for most of their allotted time. In complete contrast to the Imposters, the troupe took a stream of consciousness approach that jumped from one imaginative scenario to the next. This group was hard to pin down in terms of their comedic style, they simply had fun and their skits moved from general to magical realism to whatever having a disappointing family dinner inside a snicker’s wrapper is. With an audience one word suggestion of “ramshackle” and a quirky beginning narrative about being swindled by not reading the fine print, they were off.  An equally delightful display of comedy with a completely different tone, That Thing We Do benefitted from having shameless fun while also encouraging each troupe member’s instincts. Although not every skit was a success, their sense of fun and elaborate callbacks made the chaos all the more enjoyable.

Regardless of their stylistic differences, the double act effectively flummoxed and bewildered the audience in improvised fashion with an array of imaginative scenarios. All the performers kept the audience thoroughly engaged and unsuspecting ready for any bout of madness from any angle.

For more information about the festival, check out the website here.

For more information about shows at the Scottish Storytelling Centre you can find their full season line up and various events offerings here.

REVIEW: Listen to the Forest

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Rating: 3.5 out of 5.

A beautiful, thoughtfully crafted artistic performance exploring the beauty and wisdom of nature and the value of life

Listen to the Forest, the first onstage work of creator and choreographer Valeria Levi, promises to be “an experimental dance performance blending movement together with spoken word, music and BSL,” and “a space to explore our capacity of feeling and empathy for other life-forms through our connection with breathing.” An explanation that perfectly describes and sells this production. 

From the moment that we walked into the theatre; an atmosphere was created. Pinecones and branches covered some of the chairs, white-noise style music played, and the dancers were lying down “breathing” on the stage. It felt like walking into a story, rather than sitting down to see a show, which worked perfectly with the idea of “the forest.” The way that everything tied together – the decoration of the theatre, the lichen-covered instruments, the simple stage set-up of a few trees and wooden blocks, the eerie music mimicking the rhythm of breathing – was very satisfying, and it was easy to tell how much thought and care had gone into each meticulous detail of the production. 

The performance itself was no exception. It was predominantly an expressive dance piece, with two dancers representing “life-forms” of the forest, and another performer playing the instruments. The choreography was amazing and absolutely visually beautiful. A balance was struck between soft, fluid, water-like/wind-like movement to slow, haunting music or silence, and more intense, erratic, discordant moments. There were times when the two dancers interact to depict harmony, and times when they appear to be at odds and cause the near deaths of each other. Simple yet effective prop usage also furthers the effectiveness of the piece’s ability to capture the different states and personalities of nature, what happens when it is left to exist peacefully, and what happens when it is pushed too far. The interlacing of each artistic element works well, with Gaelic song, rain sticks, and the continuous motif of breathing further enriching the viewing experience.

A compelling spoken word portion, including powerful lines like “you keep pulling me, pushing me” and, “you’re not listening to me anymore, give me space to breathe” also ties in the themes of environmental protection and climate change, and gives the piece a deeper, more moving quality. 

Well-executed hybrid pieces like this one are important as they highlight the creative possibilities of dance, music, and spoken word and the power of weaving them together, all while diversifying live theatre, and making it more naturally accessible. It was particularly lovely seeing a show that wasn’t just BSL-interpreted, but that had BSL at the heart of its expression. This production, which thrives on its craftsmanship, artistry, thought and attention to detail, also especially shows how you don’t always need frills and fanciness to create something powerful. 

I would say that small refinements could be made to the spoken word portion of the piece. Most of the lines were poignant and powerful, but there were some that didn’t make as much sense as others, and moments where the meaning and address was unclear. However, the artistry of the performance as a whole was stunning. I’m excited to see it to return to Edinburgh for an official premiere, and recommend it to anyone who appreciates dance, spoken word, nature, or who just wants to see something lovely and a bit different. 

REVIEW: Ghost Fish & Redacted Theatre Company

Published on by Rosette1 Comment

Rating: 3 out of 5.

Energetic and enthusiastic – the jokes barely had time to land and the crowd was already laughing

Back for its sixth iteration, the Edinburgh International Improv Festival is here to charm, entertain and mildly confuse. Taking place over four days, it has shows, workshops and jams. The 6-7pm performance on Saturday evening introduced us to two companies, Ghost Fish, for Glasgow and Redacted (formerly Drunk) Theatre Company, from LA. 

At 6:00 pm exactly, the hosts barged onto the stage brimming with excitement. They warmed up the audience for the performers and jokingly reminded them:  “Don’t heckle!”. But there was no need to: people were incredibly energetic and enthusiastic, the jokes barely had time to land and the crowd was already laughing. 

The first show was brought forth by Ghost Fish in the format of short sketches. In an entertaining opening, they asked the audience for a word and someone promptly said up “plate”. Segments were largely independent but thematically linked to each other, and there were running jokes and gags throughout. The Tesco aficionado was particularly memorable with Father Christmas-esque Uncle Tesco joining in. Physical comedy got quite a few laughs with a notable lamb-birthing scene. While there were some quiet and some tense moments, the exchanges flowed pretty well and the show was fun. 

The promise to see comedians drink 5 shots and then do drunk theatre (as per the company’s Instagram) could unfortunately not be realised due to Scotland’s strict licensing laws, and the drunk Theatre Company was renamed Redacted Theatre Company for tonight. Their performances however remained consistently powerful. With only four people on stage, they brought to life an entire story where (most) things made sense. Asking for a prompt from the audience, they were offered “I hurt my toe”, and delivered a delightful, well-paced academic-homicidal adventure. Characters came to life before our eyes with janitors, students, a dean, and even a DJ. The dynamics and chemistry between performers seemed effortless, and they bounced off each other leaving little time for thought. Soon, the setting became the University of Edinburgh. It was then extremely entertaining to watch Americans talking about fraternity parties in that setting. The amount of characters and locations that were developed did lead to some confusing moments, which most times contributed to the charm but once or twice were harder to follow. However, a coherent plot developed and they got us from the hurt my toe prompt to a triple homicide by broadsword interestingly fast. Talented performers and quick wit made for a disarmingly enjoyable night.

In Conversation with Macbeth’s Mike Noble

Published on by Tabitha JamesLeave a comment

Macbeth arrives at Oxford Playhouse from Tue 12 to Sat 16 March and is directed by the Artistic Director & CEO of English Touring Theatre Richard Twyman. It is theatre company’s first international production since the pandemic. It travels to Oxford after previews last year at Shakespeare North Playhouse in a design unique to its space. 

We spoke to Mike Noble who plays the titular character of Macbeth.

  1. Macbeth has been a big hit on tour and is now coming to Oxford Playhouse, what can you tell us about the show?

This is a really fun, dynamic, entertaining and modern telling of Macbeth which focuses heavily on the relationship between him and his wife. It’s a very domestic setting where we explore what happens when the violence of war invades the home.

  1. This is a modern reworking of Shakespeare’s tragic play, what differences can audiences expect from ETT’s production? 

Well, it’s modern dress, we use a lot of video and music to underscore and support the storytelling. There have been some cuts and edits in order to highlight certain elements but it’s all the same dialogue, themes and story. I guess it’s only really different in the sense that every production of this incredible play is different from the other. There is no one way to tell it which is why it has stood the test of time. 

  1. The production has been described as ‘Succession meets Fleabag’, what can you tell us about this version of Macbeth and Lady Macbeth that we will see on stage? 

I think that was an interesting quote in that Fleabag uses direct audience address just like Shakespeare does with his Soliloquies and Succession obviously has echoes of King Lear, Macbeth, a bunch of the tragedies really. It’s cool that people are noticing and finding our show as relatable as these big hit TV shows.

I think the relationship between Macbeth and Lady Macbeth is central to the success of the play. We need to believe in them as husband and wife, deeply in love with a rich, shared history who will literally do anything for each other. I think in the best versions of the play you find yourself rooting for them first and being repulsed by them second and hopefully our production achieves that.

  1. It looks like a unique setting for Macbeth, what can you tell us about the visuals of the show?

We use live video feeds throughout the show that hopefully give the audience different perspectives on the inner workings of the characters. Some of it is CCTV showing private conversations which are laid bare or spied upon in a paranoid surveillance state. I think it makes for a feast visually and always keeps the audience as engaged and immersed in the characters as possible. 

  1. What has surprised you most working on this production?

This is my first time working on a Shakespeare play and I finally get it. There is no definitive idea, no definitive telling – I literally learn and unlock something new every week, every show. It’s an unbelievable pleasure and privilege to perform.

  1. What would you say to anyone thinking of booking to see Macbeth?

What are you waiting for?

FEATURE: UK PREMIÈRE OF DOMINIQUE MORISSEAU’S SKELETON CREW ADDED TO DONMAR WAREHOUSE 2024 PROGRAMME

Published on by Tabitha JamesLeave a comment

The Donmar Warehouse have announced the addition of Dominique Morisseau’s Skeleton Crew to the programme for Michael Longhurst’s final season as Artistic Director.

Morisseau’s 2016 play was nominated for three Tony Awards, including Best Play, for its 2022 Broadway run. This production, which marks the UK première, opens on 4 July and runs until 24 August with previews from 28 June. Olivier Award-winner Matthew Xia directs.

Priority booking for Skeleton Crew opened on Friday 1 March, with public booking from Wednesday 6 March.

Skeleton Crew replaces the previously announced production of Eboni Booth’s Primary Trust, which due to unforeseen circumstances will no longer be part of the Donmar’s 2024 season.

“I’m not asking you to make up happy endings. All I’m asking is that you tell ‘em they can’t write us off. You got to fight for us.”

In 2008 Detroit, one of the city’s last surviving car factories is threatened with closure. A tight-knit group of workers face crushing economic reality. Torn between loyalty to each other and their own self-interest, can they hang on to their dreams, to their ambitions, to hope?

Detroit-born playwright Dominique Morisseau’s masterful feeling for voice and character brings depth and authenticity to a story about the human effects of a global financial crisis.

(c) Alex Brenner. No use without credit.

REVIEW: Scarlet Sunday

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Rating: 5 out of 5.

A gripping study of obsession, art, and damaged psyches. 

Scarlet Sunday is haunting. It is a slow-burn psychological tragedy, bordering on thriller, that you cannot help but be drawn into. The story follows Yasmin in pursuit of a better understanding of her now-deceased artistic idol by interviewing his daughter, Ava. It is a grim tale of the folly of idol worship and the wounds left by the secrets we carry. 

James Alston’s script is ingenious. His writing shows a depth and honesty that is almost surreal; every single line serves a purpose and conveys far more about the characters than is realized. The way in which he writes of the experience of art shows a true appreciation and understanding of the impact it can have. His finest work is in the patient way in which he brings Ava’s experiences to light; the build to her chilling revelations is a painfully realistic portrayal of a survivor’s fight to keep their head above water. In addition to remarkable plot and character development, Scarlet Sunday also delivers a number of eerily poignant lines that burn themselves into the viewer’s brain. Alston’s apparent understanding of suffering and art and obsession culminates in a hauntingly realistic story. 

Set and costume designer Cat Fuller did a fine job in designing a set which felt natural and immersive. As haphazardly arranged as the space may appear, it is clear that each prop served a clear purpose in creating the beautiful and slightly off-putting atmosphere. Particularly brilliant was the use of backlit artists’ canvases as windows in the paint studio. The costumes were well-suited to each character, complimenting their distinctive personalities. Catja Hamilton’s lighting design equaled Fuller’s brilliance in its originality; colored lights, spotlights and a single hanging lamp on center supported the story and the atmospheres’ intensity. Sound designer and composer Odinn Orn Hilmarsson completed the immersive experience with his original scores.

Finally, completing the haunting experience are actresses Camilla Aiko and Sorcha Kennedy in the roles of Ava and Yasmin respectively. Both actresses delivered rousing performances of complex characters. Kennedy embodied the loud, confident, and often awkward personality of Yasmin, making her both charming and amusing. Aiko masterfully conveyed the complexity of Ava’s emotional journey, leaving the audience in tears as she told her horrifying story. What I found to be particularly memorable were the actresses’ physical interpretations of their characters; Kennedy moved quickly and stood tall, bouncing about the space just as Yasmin would, while Aiko’s movements were slow and purposeful, almost detached and sluggish until she revealed herself. The chemistry between the actresses was extraordinarily natural and developed with incredible ease; the slow-building tension throughout the show made it difficult to look away for fear of missing its eventual burst. 

Scarlet Sunday is a captivating study of art, obsession, and suffering. It is a tense emotional journey that keeps viewers on the edge of their seats, empathizing with the characters, and questioning right from wrong. Alston’s script is a masterpiece; it is beautiful, traumatizing, and even funny at times. This, in combination with a talented cast and brilliant tech and set design, has created an incredibly moving and memorable show. 

If nothing else, it will leave you with a question: Can you separate the art from the artist?

Scarlet Sunday opened at Omnibus Theatre on 1 March 2024 and runs until 17 March 2024. For this production, Aslant Theatre Company partners with charity Daddyless Daughters to provide creative workshops inspired by the play. Daddyless Daughters provides safe spaces through mentoring and workshops to support vulnerable girls and young women who have been affected by family breakdown, abuse and adversity.

Laura Pitt-Pulford as Poppy, Elizabeth Ayodele as Joy and Rachael Wooding as Rose in Standing at the Sky's Edge in the West End. Credit Brinkhoff-Moegenburg.1108-298

REVIEW: Standing at the Sky’s Edge

Published on by Tabitha JamesLeave a comment

Rating: 5 out of 5.

A captivating love story to Sheffield that is well deserving of the award: Best New Musical

The critically acclaimed new musical, Standing at the Sky’s Edge, has garnered numerous awards including the prestigious Olivier Award for Best New Musical, the UK Theatre Award for Best Musical Production, and the South Bank Sky Arts Award. After sold-out runs at the National Theatre and Sheffield Theatres, the production has now transferred to the West End.

Standing at the Sky’s Edge can be best described as a tribute to Sheffield, chronicling the aspirations and struggles of three generations spanning six tumultuous decades, exploring timeless themes of love, grief, and resilience, based in the iconic brutalist Park Hill flats.

Under the direction of Sheffield Theatres’ Artistic Director, Robert Hastie, and featuring music by renowned singer-songwriter Richard Hawley, alongside a poignant and humorous script by Chris Bush, Standing at the Sky’s Edge offers a poignant reflection on modern British history through the lens of this landmark housing estate. It is a heartfelt celebration of community and fully explores the essence of home.

Standing at the Sky’s Edge feels like a strong new entry to the musical library of the West End – combining ballads, indie rock and various other genres into a pleasing soundtrack. It sadly doesn’t have one standout song that I was left singing on repeat by myself, but that didn’t detract from the lasting effect of the stories I witnessed – the combination of heartwarming fuzziness and gutwrenching grief that comes from watching almost 3hrs of romance playing out from meet-cute to parting moments.

With an impressive set fully embodying the brutalist architecture, placing the band on various floors for full immersion and a LED-lit floorplan footprint on the stage the audience was immediately transported to Sheffield. The set and various directorial decisions worked beautifully together to portray the various decades we were in and also bring to life the tensions the story demonstrated – mainly regarding the political climate.

However it was the cast and the direction that truly brought the magic to this production. A strong ensemble with impressive vocals brought the Book to life with energy that kept the pacing quick and engaging throughout. Choreography occasionally felt mismatched with the timelines we were in and my companion remarked it was sometimes jarring and distracting – there were a lot of instances where it was impossible to know where to look (so much was happening). However apart from this slight criticism the direction was otherwise stellar. The cast embodied their characters well and on-stage chemistry was believable. Hastie’s brought to life three different families who charmed and entertained the audience throughout, leaving us thoroughly invested in each of their story endings.

Laura Pitt-Pulford (Poppy) and Lauryn Redding (Nikki) deserve a special mention, I found myself most interested in their story – it was peppered with humour bringing a levity to the production that was often needed. Equally Redding’s vocals were unmatched and received well deserved applause at the end of her first solo – it felt we were at a sold out gig rather than a theatre show through this particular rendition. Rachael Wooding (Rose) was another standout performance with a strong onstage presence that had me cheering her on throughout the show.

Although Standing at the Sky’s Edge might not have that catchy tune that you’re singing when you’re leaving, it delivers far more through its impressive characterisation, wide array of enjoyable songs, talented cast and entertaining and captivating trio of stories. One to catch whilst you can, it is well deserving of its ‘Best New Musical’ award.

At the Gillian Lynne theatre until 3rd August – https://www.nationaltheatre.org.uk/productions/standing-at-the-skys-edge/

REVIEW: How to Build a Universe

Published on by Victoria AshfordLeave a comment

Rating: 3.5 out of 5.

A humourous expression at what it takes to make a universe

How does one build a universe? Produced by The Place, contemporary dance company Extended Play seeks to answer that through dance and movement. Choreographed by Jamaal Burkmar, we follow five people from different universes as they navigate their way in the world after waking in a strange void to try to create something new together. 

With bright white lights and an omnipotent voice setting the stage for our journey through space and time, we are introduced to the characters. Dressed in plain white clothing, they try to get to grips with their new space and each other, with direction and interaction from this mysterious voice. An accompanying soundscape from Dutch composer Jameszoo adds to this playful piece.  

As we follow the rise and fall of past universe creations and failures, it soon becomes clear not everyone can follow these guides. Colourful lighting, costume and intense sound emerge as the movement progresses, adding to the building of emotion and creation. With dancers following their individual movement and in sync not only as a collective but at times with each other, it could be argued that one of the messages behind this concept is that we are not perfect, neither is life, but we all have a common ground. This is highlighted when five outsiders are welcomed to the group and they explore how to communicate with each other. 

A humorous and reflective take on how humanity acts in a new situation-do we fall in line or do we break the mould, encouraging others to do the same? What is our place in the universe, our community and what matters to us? This vibrant dance concept allows the audience to form their own messages and feelings on such questions. The added element of improv with local dancers is an interesting look at how we work together, whilst we might not speak the same language and can come from different social and economic backgrounds, there is always away that we can communicate with each other and express ourselves. 

A visually striking piece with energetic dance performances from start to finish, it is interesting what can be conveyed through the medium of modern dance. Whilst the improv dance highlighted the meaning of community in creating something new, it did feel in places like it slowed down and had made its point. Overall, an entertaining piece that is engaging and thought provoking.