May 2024 – Page 2 – A Young(ish) Perspective

REVIEW: Strategic Love Play

Published on May 28, 2024July 24, 2024 by ellarowdon11Leave a comment

Strategic Love Play is imbued with insightfulness, exploring the pretences of modern dating and how we find human connection in a contemporary world.

On Saturday Night I was delighted to attend Soho Theatre to see Strategic Love Play, written by Miriam Battye. This play has been recommended to me by several people after extremely positive acclaim from the Edinburgh Fringe festival and a previous run at the Soho Theatre last year.

Strategic Love Play explores a contemporary society’s expectations of relationships, love and dating. When we are living within the thralls of technology, dating apps and swipes, which promises an abundance of choice, and a surface-level method of selection, Battye’s play ultimately asks, what is the cost of this?

Under Katie Posner’s direction, Strategic Love Play cleverly explores the pretence of modern dating, dramatizing the strategies that we employ in order to find real human connection. Set on a revolving stage, the play mirrors Him (Archie Backwell) and Her (played by Letty Thomas)‘s attempt to escape the cyclical vacuousness of modern dating, one beer at a time.

This leads to Her proposing a hypothetical question – what would happen if they should decide to drop their guise? What if they decided to…just…stay? To choose each other. To be a “firm fucking hand to get through this with”.

As Woman asks – “Wouldn’t it be good if we could…skip all the shit?”

And thus, they come up with a strategy to avoid the heartache of rejection, loneliness, and judgement.

I must assume that the significance of the characters being named Him and Her is to connote universality. However, this fails to resonate, due to the fact that Her feels like a characterture. And not a great one. She consistently commentates on the conversation and everything that happens in a tediously pretentious and self-aggrandising way, her cynicism at times a little over-the-top and her out-bursts a little cringey. She is performing – and her character does not feel relatable. She feels like a manic pixie nightmare girl – because, of course, Him does not find her mania attractive – (at least at first.)

We also do not get to understand Her’s back story, and perhaps more of an insight into why she is the way she is would have altered my perception of her as a character. I found myself feeling a little frustrated that I could not feel more connected to her.

But perhaps this is the point – dating, after all, is a performance. An exhausting, at times soul-destroying one. Letty Thomas does wonders with her portrayal of Her; her energy was captivating, and her vocal performance was strong, delivering Her’s quick-witted digs and lines dripping with disdain with perfect timing and pace.

Him, played by Archie Backwell, was much more relatable, and after disclosing his own personal heartache, I could believe why this man could have every intention of going through with their strategy. His incessant need to “not be a dickhead” rings with authenticity and Backwell’s delivery paints him as a fully flawed man with beautifully raw edges.

At times, the set and direction led me to question the reliability of the characters, whether this is an amalgamation of several dates with different people, or perhaps an insight into the inner world of our protagonists. Are we living in their imagination? We see their inner conflicts, insecurities, and suppressed desires.

But this also led me to feel confused, as the play oscillates between naturalistic and unnaturalistic dialogue, believable and unbelievable characters, and a realistic and also slightly surrealist set-up – at one point beer starts to fall from the lamp above, which felt random and out of place.

The ending, however, was well-earned and brave. It embodied the incredibly flimsy foundations upon which one builds expectations and promises in modern dating, only for it to end in disappointment and disappearance before the protagonists move on to the next date. The play is imbued with insightfulness and evokes a feeling of despair that echoes the character’s predicaments – Is this what we have come to? A society of lonely people, bereft of connection and romance?

And does living in a capitalist contemporary society mean being unable to truly connect? The play is a definite must-see.

REVIEWER: Ella Rowdon

REVIEW: Dragon Ladies Don’t Weep

Published on May 27, 2024May 27, 2024 by Claudia WestLeave a comment

“A masterful meditation on life, death, and the arrival of things when we’re ready.”

Margaret Leng Tan has led an extraordinary life. Originally from Singapore, the New York-based pianist became the first woman to earn a Doctorate in Musical Arts from Juilliard in 1971 after earning a scholarship to study there as a teen.

Dragon Ladies Don’t Weep is her sonic memoir, a one-woman biographical theatre show. The piece explores significant moments along Tan’s journey, including her first meeting with the legendary composer John Cage at Juilliard. At the time, she didn’t know who Cage was and ‘wasn’t ready’. However, a few years later, she booked a 1,000-seat theatre to impress him with her work. Tan went on to work closely with Cage until his death in 1992, becoming a leading exponent of his works for prepared piano.

Despite her diminutive size, Tan is a force to be reckoned with from the moment she enters the stage. She commands attention without demanding it, often playing with her back to the audience. At 78 years old (at the time of the play’s creation), she takes her time. The piece is a thematic meditation, inviting the audience into little stories, vignettes, and interludes, rather than spoon feeding any particular narrative, or rushing to any great conclusions. Tan explains her compulsion to count and how this has fed her love of music. She muses on loss, making the most of our time, and the idea that things come when we’re ready for them.

John Cage’s influence is evident throughout the show. Early on, Tan prepares her grand piano by placing bolts onto the strings, later bows the strings, and at one point, leans into the piano to strum the strings with her fingertips. In quieter moments, Erik Griswold’s music’s expansive ponderousness paints beautiful images, while in dramatic moments, the rhythmic pounding of the keys propels us forward. Tan is known as the “Queen of Toy Pianos,” and Griswold’s music incorporates various toys. Tan uses toy pianos, toy phones, a megaphone, a toy gun, and a melodihorn, which complement the explorations of her childhood and the playful nature of the piece. Tan also uses the toys to create comedic musical pieces with messages about enjoying life and spending less time on our screens.

Tan gently and humorously critiques the younger generation for their phone obsession, and lack of knowledge of great artists like Cage who have so greatly influenced modern music, but this piece is for all, the themes are wholly accessible and universal. The text is concise and funny, with Tan’s deliver of her pithy one-liners always getting a laugh.

The direction by Tamara Saulwick is clear, engaging, and physical. Nick Roux’s captivating video work features black-and-white numerical and line patterns and shadows from Tan’s past, forming a dynamic set and an additional character that Tan interacts with.

Dragon Ladies Don’t Weep is a captivating performance that masterfully blends music concert stage play, and visual art installation. Tan’s ability to reflect on her life and work while engaging the audience with humour and depth makes this piece a must-see.

REVIEW: Sunday on the Rocks

Published on May 27, 2024May 26, 2024 by chelseajinaLeave a comment

On a beautiful Sunday in a suburb of Boston, Elly, Gayle and Jen drink whiskey, willing their problems to disappear before their abhorred housemate Jessica returns.

The acclaimed play Sunday on the Rocks by Theresa Rebeck receives a new display at the Bread and Roses Theatre, taking this much-admired piece that had Rebeck regaled as the ‘voice of a generation’ and repositioning it for the intimate space of a pub theatre.

It is a beautiful, sunny day in a quiet suburb of Boston, U.S.A. Elly, Gayle, and Jen have decided that the best way to spend this idyllic Sunday morning is to drink some whiskey. Or, rather, a lot of whiskey. They are housemates, and each are facing their own obstacle. Elly is pregnant and pondering an abortion, Gayle feels lost, constantly forced to be the peacekeeper in the group, and Jen is being relentlessly harassed by a co-worker who wants a romantic partnership, but whom Jen considers to be nothing more than a friend. Tensions are exacerbated by the looming presence of Jessica, the fourth housemate. While Elly, Gayle, and Jen are forthright regarding their flaws, Jessica presents herself as a perfect human being living a picturesque life. A devout Catholic and certified perfectionist, Jessica is at best misunderstood by most of the housemates, and at worst, actively despised. Her only ally is Gayle, who consistently tries to bridge the gap between Jessica and Elly and Jen.

As the morning turns into afternoon, Elly, Jen, and Gayle have made their way through a significant amount of whiskey and have objectively trashed the living room. Their individual obstacles have also heightened in tension. Suddenly, Jessica is home from church, sending the group into a total downward spiral. Things begin to unravel to an unprecedented degree, and even Jessica’s veneer of perfection begins to falter.

The cast, made up of Candace Leung (Elly), Rachael Bellis (Gayle), Olivia Gibbs-Fairley (Jen), and Julie Cheung-Inhin (Jessica) graced the small space of The Bread and Roses theatre with an exciting performance. They carried this arguably lengthy play with zeal. Though they occasionally seemed to be a bit shaky on their lines, they displayed honest and grounded performances. Rachael Bellis, who also served as the production’s director, utilised the space cleverly, with entrances and exits conducted through the actual theatre’s door, including the audience in the play’s action beyond the limits of the proscenium stage.

REVIEW: Is There Work on Mars?

Published on May 27, 2024May 26, 2024 by chelseajina1 Comment

Is There Work on Mars explores the illogical racism of immigration systems, ableist classroom environments, and the woes of feeling like an outsider no matter where you try to go.

Written and performed by Yafei Zheng, Is There Work on Mars explores the illogical racism of immigration systems. Set in a future time that feels eerily close to now, Yafei Zheng performs the role of Examinee/Xue in the midst of a SpaceX Workers Immigration Route exam. Operated by an AI examiner, this exam tests your supposed physical and mental suitability to working on Mars. Xue is applying to work as a lawyer for Mars’ new elite population of Earth’s wealthiest former inhabitants. The exam performs these tests in a variety of ways; two chairs are placed on either side of the stage and with each ‘beep,’ played at frequent intervals, Xue is to jog from one chair to the other. The system asks Xue a variety of questions that test her academic capabilities, such as her ability to perform mental arithmetic, in addition to some suspicious personal questions. As more questions regarding Xue’s nationality and heritage come up, the system’s racial bias is quickly exposed. As the questions continue to increase in hostility, so the process begins to spiral out of control.

The exam is interspersed with memory recall exercises. The system puts Xue into an almost trans-like state in which we with Xue travel back in time to relive a memory from her past. This structure enables us to slowly learn more about Xue’s life in step with SpaceX’s immigration system. As new questions come up about Xue, so the snippets of her life explain why she answers as she does. We see Xue’s experience in Grade 1 of primary school back home in China – the rules regarding procedure and policy, the admonition of her inability to answer questions to the desired standard and her subsequent rebuke of her personhood beyond academics. These shed light on the memory recalls to follow that catalogue her experience as an international student at an American university, in which she experienced an equally hostile environment. The SpaceX AI system catalogues Xue’s answers and memories, soon to reveal its decision on her immigration status that will alter Xue’s life forever.

Is There Work on Mars is a thought-provoking play that accurately depicts the insipid structure of immigration systems. It displays the unending frustrations that come of trying to work within a system that is fundamentally designed to reject you. With a run-time of 40 minutes, this speedy production packs a definite punch, and can at the very least leave a British audience wholly more informed of the trials and tribulations that those deprived of a Western passport consistently experience.

REVIEW: A Celebration of Puccini

Published on May 27, 2024May 26, 2024 by Heather Doquiatan1 Comment

Delightfully dramatic – a beautiful fluidity between the orchestra and the singers

Last night’s performance of A Celebration of Puccini at the Liverpool Philharmonic was an opera lover’s dream. Performing to a packed auditorium, the orchestra was ably conducted by Liverpool’s renowned Domingo Hindoyan for two acts of emotive magic, featuring guest soprano and tenor Sonya Yoncheva and Riccardo Massi.

It’s hard to say for which of his works Italian opera composer Giacomo Puccini is best-known, though the use of ‘Nessun Dorma’ as the theme tune for a ’90s World Cup makes it a hot contender. Being a particular fan of Puccini’s Gianni Schicchi, I had high hopes for the theatricality of the evening, and was not disappointed. Criticism of Puccini has included his popularity and mass appeal, which I don’t see as negative: the emotions behind his compositions are so clear that it’s a joy to listen to every one, and fairly impossible not to become invested, especially with excellent musicians at the helm, as was the case at yesterday’s performance. Subtle, the evening was not – big emotions and big facial expressions abounded. I was grateful for the leaflet of lyrics and translations provided; though certainly it was possible to get the gist of each piece just by watching and listening, it was nice to have the extra context.

The evening’s programme was split into parts: selections from La Villi were followed by selections from La Boheme, with Madame Butterfly and Manon Lescaut following in the second act. Each part was opened by an orchestral piece, ahead of the guest singers joining. The orchestra was, as ever, impeccable: they were note- and tone-perfect, able to soar when required and at other times become such subtle background to the opera singers as to be almost unnoticed (the highest of compliments).

Bulgarian soprano Sonya Yoncheva and Italian tenor Riccardo Massi took the stage to great acclaim. Yoncheva has recently performed in Madama Butterfly in Berlin, and Massi is known for playing the various heroes of Puccini, so expectations for both were high from the get go. Massi wore a dark suit, and had facial expressions which would put the drama masks to shame – the explicitness of his every feeling of despair, joy, lust, and heartbreak was fully supported by his vocals. Yoncheva was the quintessential soprano, in bridal white and draped in pearls for the first act, and shimmering in silver and black sequins for the second.

Yoncheva’s voice was a little thin on the high notes pre-interval, lacking a certain resonance which came through with gusto in the second act – she performed the various extracts from Manon Lescaut especially well. The power of her voice didn’t play quite so well during the pleas in her encore, ‘O Mio Babbino Caro’, which could have benefited from a more bell-like tone.

Massi was a powerhouse, never struggling to find or reach a note. Particular mention must go to his encore of ‘Nessun Dorma’ – following his climactic high note, the audience burst into applause while the orchestra played through the final triumphant notes of the piece.

There was a beautiful fluidity between the orchestra and the singers, with Yoncheva and Massi’s performances straddling their fictional operatic worlds and the realism of the stage: both used the conductor’s podium to lean against throughout the show; Yoncheva gently blew flower petals into Domingo Hindoyan’s face in the first act, and later refused Massi’s advances by gesturing to the orchestra to indicate that they had company. The conductor was instrumental in this weaving of worlds, acting as the conduit through which the singers and orchestra flowed, met and parted.

During the final bows, Yoncheva was presented with a bunch of flowers by an audience member – she accepted with grace before presenting Massi with a small sprig, and giving a red rose each to the conductor and to the lead violinist. It was a fittingly theatrical note on which to end an emotional and delightfully dramatic performance.

REVIEW: “Some Enchanted Evening” by The English Musical Theatre Orchestra

Published on May 26, 2024May 26, 2024 by Maria Mădălina Ifrim1 Comment

Pure musical bliss – a fantastic showcase of classic musical theatre, performed with skill and reverence by a promising new orchestra

“Some Enchanted Evening,” performed by The English Musical Theatre Orchestra, was a delightful homage to classic musical theatre, featuring a full 26-piece orchestra playing the original arrangements of beloved songs. This approach stood in stark contrast to the more limited instrumentation often used in contemporary performances, offering a rich and authentic listening experience.

The evening began with some minor sound issues affecting the soloists’ voices, but these were swiftly resolved. The repertoire, which touched on themes of love, lust, dating, and heartbreak, resonated with a younger audience, though it was predominantly older attendees who filled the venue. It’s a reminder of the enduring appeal of these classics and a hope that younger generations will come to appreciate the depth and value of such performances.

Roy Locke and Lisa Jane Kelsey, the evening’s performers, exhibited exceptional chemistry. Their classically trained voices brought a new level of complexity and emotion to the majority repertoire of Rodgers and Hammerstein’s compositions. This was particularly evident in Lisa’s poignant rendition of “If I Loved You,” one of the vocal highlights of the night.

The orchestration was dynamic and fluid, providing a robust backdrop that allowed the soloists to shine both vocally and theatrically. Locke, though occasionally a bit overzealous, showcased his talents beautifully in “On the Street Where You Live” from My Fair Lady.

Hearing the original arrangement of “My Favorite Things” was a unique and refreshing experience, highlighting the song’s intricate composition. The West Side Story segment was the pinnacle of the evening, displaying immense passion and theatricality from all performers.

It was also a treat to hear selections from less frequently performed shows such as Show Boat, Camelot, and Brigadoon. These pieces, often overlooked in the British musical theatre scene, were given a professional and heartfelt rendition by the orchestra.

The English Musical Theatre Orchestra, making their public debut, proved to be a young and vibrant ensemble. Under the charismatic and passionate direction of conductor Gregor Reid, they brought each piece to life, with Reid’s engaging narration adding depth to the performance.

“Some Enchanted Evening” was a fantastic showcase of classic musical theatre, performed with skill and reverence by a promising new orchestra. I eagerly anticipate future performances by The English Musical Theatre Orchestra, confident that they will continue to bring these timeless classics to new heights.

REVIEW: Academy of St. Martin in the Fields with Håkan Hardenberger

Published on May 26, 2024May 26, 2024 by Antonia ConstantinLeave a comment

An unforgettable evening where Håkan Hardenberger and the ASMF delivered a masterful performance, showcasing the profound beauty and emotional power of live classical music.

Attending the concert with Håkan Hardenberger and the Academy of St. Martin in the Fields (ASMF) was an unforgettable experience that any music enthusiast should cherish. From the moment I stepped into the enchanting venue of St Martin in the Fields, I knew I was about to witness something exceptional.

Hardenberger, widely regarded as the premier trumpeter of our era, displayed his extraordinary talent through a series of performances that were truly awe-inspiring. It is no secret that his ability to produce a stunningly pure and beautiful tone, especially during the more lyrical sections, is always captivating. At the same time, his seamless execution of rapid, complex passages is both effortless and unparalleled, showcasing a level of mastery that is rarely seen.

The synergy between Hardenberger and the ASMF was evident from the very first note. The ASMF, renowned for their exceptional musicianship, delivered a haunting and superb performance that kept the audience fully present in the moment.

The evening’s program celebrated the long-standing collaboration between Hardenberger and the ASMF, featuring pieces like Haydn’s Trumpet Concerto and selections from Hardenberger’s album Both Sides Now. These works, previously recorded with the ASMF, demonstrated his versatility and profound musical expression. The concert was filled with moments of deep emotional resonance, particularly during the exquisite selections from Both Sides Now.

Hardenberger’s diverse repertoire and his reputation for pushing the boundaries of trumpet performance were on full display. He has worked with some of the world’s most prominent composers and has an extensive discography ranging from Baroque concertos to challenging contemporary pieces. In this concert, he offered a fresh perspective on some of the most beloved melodies, perfect for a serene evening.

The orchestration was both sophisticated and deeply moving, with Hardenberger’s melodic interpretations bringing a new depth to familiar tunes. I was particularly moved by the ASMF’s rendition of Grieg’s Two Elegiac Melodies Op. 34: Last Spring. There is something humbling about bearing witness to musicians who play their instruments as if they are weaving sound into pure emotion. Every note seemed to resonate in the deepest corners of our souls. By the end of the piece, there were tears all around me.

The concert concluded with Piazzolla’s Oblivion, which brought the audience to their feet in a rapturous applause. Hardenberger, smiling, inquired if the audience wanted more and shared a charming story about how pianist Roland Pöntinen, his collaborator for the album Both Sides Now, initially thought the piece Sans Toi was “too much”. It turned out to be the perfect finale to an extraordinary evening.

This concert was a stunning display of their exceptional artistry and the sublime beauty of live classical music. As the final notes faded and the applause gradually quieted, it was evident that everyone had witnessed something extraordinary. The evening underscored music’s incredible ability to connect, evoke emotion, and inspire, leaving the audience with lasting memories to treasure.

In Conversation with Yamato – the Drummers of Japan

Published on May 26, 2024May 25, 2024 by Tabitha JamesLeave a comment

1. What is the show about?

For our upcoming shows in London, YAMATO presents The Wings of Phoenix. The powerful and warm booming sound of the Taiko drums, likened to a heartbeat, awaits you. We hope to share with everyone gathered at the Peacock Theatre the energy of “rising like a phoenix amidst various challenges.”

After the show, let that energy fill your hearts and bodies, as we deliver performances that will empower you for tomorrow.

2. Are you excited to bring the show to London?

Since its formation in 1993, YAMATO has performed over 4,500 shows in 54 countries across 30 years. Among these experiences, our performance in London holds a special place. This is because London stands as one of the world’s greatest hubs for performing arts and entertainment. Perhaps it’s the sense of “taking on a challenge” that adds to the anticipation.

Despite being seasoned performers, there’s an overwhelming nervousness among us as we prepare for the show. Yet, there’s also an equal amount of excitement. We are currently touring in the Netherlands and we aim to bring an even more polished performance to excite the people of London.

3. What is your role in the show?

I am the founder of YAMATO and have been performing for 30 years. I also create compositions and direct the show.

4. How long have you been with the company?

I founded the company in 1993 and have more than 30 years of experience in Taiko drumming.

5. What can audiences expect?

YAMATO is dedicated to spreading vitality and energy to people everywhere, no matter where they are in the world. From newborns to those over a hundred years old, we’ve met countless of individuals. Our impact goes beyond anything energy drinks or vitamins can offer, especially for those who might be feeling a bit weary and tired- our audiences can expect to walk away feeling revitalised.

6. Why should people come to the show?

The power of the Taiko drums’ sound is extraordinary. From delicate echoes that resonate with the soul to thunderous booms that pierce through the body, the sound of the Taiko drums has been rumbling in this world since ancient times, akin to the beating heart of the Earth. It harmonizes with the rhythm of your heartbeat, pulsating through your body.

The largest drum has a diameter of nearly 2 meters and weighs around 500 kilograms. Various types and sizes of drums line the stage. They are played by the YAMATO Drummers, who have honed their skills both physically and mentally.

It’s an indescribable sensation that defies imagination.

7. When is it on?

YAMATO will be in London from June 4^thuntil June 22^nd.

Get your tickets here: https://www.sadlerswells.com/whats-on/yamato-drummers-of-japan-hinotori/

REVIEW: The Glass Menagerie

Published on May 26, 2024May 25, 2024 by Megan LewisLeave a comment

Poetic and intense, but in need of a pick up in pace

The Glass Menagerie, first performed in 1944, has seen countless reimaginings over the years. This widely-studied classic was the play which launched Tennessee Williams’s successful career as a playwright, earning him global recognition.

The play revolves around a broken Missouri family abandoned by their father (the fifth, unseen character who looms over the story). Amanda Winfield (Geraldine Somerville) has dreams of prosperous futures for her grown-up children. When she learns that her daughter Laura (Natalie Kimmerling) has secretly dropped out of business school she launches herself into finding an appropriate suitor, determined that if she won’t work she must marry. Laura is timid, terribly shy and troubled by her disability, she escapes from reality through her father’s records and her collection of little glass animals. Tom Winfield (Kasper Hilton-Hille) works as a Merchant Mariner. Desperate to escape the situation at home but weighed down by a responsibility to his family and haunted by his father’s actions, he spends his nights at the pictures, avoiding home-life wherever possible. When Tom invites his work-friend Jim (Zacchaeus Kayode) over for dinner, mother endeavours to create the perfect set-up, pinning all of her misguided hope on the long-awaited gentleman caller, certain that he will be the answer to Laura’s future. Crammed into a small St Louis apartment, this play is full of tension, desire and longing, an emotive exploration of strained family relationships.

This play is memory, as we hear from Tom Wingfield in his opening monologue. Williams wrote that The Glass Menagerie should be ‘attempting to find… a more penetrating and vivid expression of things as they are.’ Design by Rosanna Vize lends itself perfectly to this sentiment. Enormous neon lights reading ‘Paradise’ loom, revolving above a sparse stage, bare but for a few chairs and a scattering of tiny glass ornaments. The lighting for the most-part is dream-like, gentle. In the second act vases upon vases of daffodils (or Jonquils, as the American’s call them) surround the stage, interspersed with candles. It’s a beautiful image, a nod to Amanda’s stories of her youth, and a lovely choice for lighting in the later blackout scene. While the characters in the story exist in a cramped apartment, the lack of set and props gives them free-reign to use the full space to express and explore, and gives way for their relationships and needs to really shine through as the driving forces in this story.

The first act of the play relies a little too much on coasting in a dreamlike state. The acting is detailed and energised but the action lacks momentum. Fortunately, this picks up in the second act, particularly spurred on by a fantastic dance sequence (it’s a real spectacle) shared by Laura and Jim in the later part of the play.

Somerville makes a fantastic Amanda. She is determined, seemingly constantly teetering on the edge of breaking point but somehow just managing to keep it together. A mother who puts everything into her children, and though her parenting is clearly flawed, you can see how clearly and wholly she loves them. Kimmerling is magnetic as Laura. Clearly a gifted physical performer, her body exudes anxious energy, which makes her moments of hope all the more heart-wrenching. Hilton-Hille charms as Tom, relatable but filled with need and regret. A lovely contrast to the family of three is Kayode’s Jim – gentle, ambitious, kind, he is a warm presence on the stage, and the hope that he brings the family is contagious.

This production of The Glass Menagerie is ambitious. The sentiment is there, the themes are clear, the dreamlike atmosphere is palpable, but something is missing. Perhaps it’s pace, perhaps it’s something else. That said, it has a lot to offer. This play runs at Alexandra Palace until 1st June.

REVIEW: Thief

Published on May 25, 2024 by Natalie GoringLeave a comment

A challenging and difficult piece of theatre – in the most important way.

Thief by Liam Rudden is celebrating its tenth anniversary with a run at the newly established Stage Door Theatre on Drury Lane. A one man 60 minute show about darkness and manipulation feels strangely at odds with the venue, which actually helps heighten the uncomfortability.

Sailor (Lee Fanning) is inspired by the astonishing life of vagabond Jean Genet, with pockets of truth and lashings of research, Rudden brings us a narrative that grips and shocks.

Sailor tells us of his unfortunate life, a life that led to pleasure in darkness, in pain, in violence and along the way we are confronted with our own need to watch. One of the first lines challenges the audience on their need to view the macabre, and when I think of the unethical but clickbait worthy tv shows and interviews currently airing, it reminds me why challenging theatre is important. To illuminate such issues.

Fanning is beguiling and repulsive in equal measure, from his grotesque masterbating to self harm, he is at his best when we glimpse the vulnerability under the bluster. His final monologue, whimpering to be held, is truly where he shines.

Throughout the lighting from Richard Lambert adds to the intense darkness of the piece although I was left wanting in the final moments, where the hazy lighting obscured the stunning performance.

There are moments where Fanning loses us, mainly in the aggressive shouting which seems under motivated, particularly when impersonating characters where it becomes just loud. Additionally there are some details which distract, including the beautiful gold necklace which remains around his neck while in prison and the anachronistic costume.

What I will add was that it was hard for me to write this review with nuance because, as someone with PTSD I was triggered by the opening scene and multiple rape enactions. Theatre indeed should be difficult but it should be accessible, meaning when it comes to warnings Nudity and Adult situations doesn’t quite cover it.