Month: September 2024

REVIEW: The Devil in the Belfry

Published on by leahjLeave a comment

Rating: 4.5 out of 5.

Darkly whimsical and surprisingly political, this one-man adaptation of Edgar Allan Poe’s tale is a perfectly spooky way to spend an autumn evening.

Written and performed by Dave Robb, The Devil in the Belfry is a one-man adaptation of Edgar Allan Poe’s darkly whimsical short story from 1839. With direction from Flavia D’Avila, this captivating performance will leave audiences on the edge of their seats as earnest narrator Handel Fledermaus relates the thrilling tale of an orderly village descending into chaos.

Dave Robb is the perfect performer to bring this story to life, as he weaves moments of morbid humour into a quirky yet chillingly suspenseful narrative. A confident, masterful storyteller, Robb whisks audiences away to the beautiful, isolated valley of ‘Vondorvotteimittiss’ – Poe’s cheekily named hamlet with a deep love for order and rigorous timekeeping. This ostensible peace is soon to be shattered, however, as audiences are warned at the start about the ‘catastrophe’ which has befallen the unsuspecting villagers upon the arrival of the titular devil. In one short hour, this catastrophe unfolds in a well-paced, enthralling monologue.

With sharp, clear changes in his expression and posture, Robb gradually expands the cast of characters as he brings this village to life. Throughout the show, simple yet effective lighting changes add drama to the shifting moods of the piece, and Robb and D’Avila’s deeply creative use of props create dynamic and evocative impressions of the village as a simple coat rack and cane transform into telescopes and towers. Robb’s energy and focus bring audiences immediately into the world of the narrator, Handel Fledermaus, and at certain points the audience is even asked to step into various roles within the tale. While Poe’s original story is written as a travelogue, the choice to create Handel as a central character and narrator adds urgency and intensity to this adaptation.

Fans of Poe’s work may notice a few references to his other short stories, and will surely appreciate the chance to delve into one of Poe’s lesser-known, more humorous works. This story is also a timely one, as Poe explores themes of xenophobia and the fear of change which are pressingly relevant to today’s society. Poe’s story has a tongue-in-cheek satirical tone, poking fun at the isolated and prejudiced villagers, and Robb and D’Avila’s adaptation perfectly captures both the wittiness and the eerie rural horror of the original tale, leaving audiences wondering who the true villain of the piece is.

The Devil in the Belfry is running from September 24th to 28th at the Barons Court Theatre at 7:30 PM.

FEATURE: The Pleasance has announced the 2024 ‘Best of Edinburgh’ autumn season for their Islington home 

Published on by Tabitha JamesLeave a comment

If you didn’t manage to catch the Pleasance’s sold-out shows in the Scottish capital this Summer,  you’re in for a treat! After the success of their 40th anniversary Edinburgh Festival Fringe, the  Pleasance Theatre Trust is bringing an exciting and diverse season of Fringe favourites with theatre,  comedy, cabaret, magic and children’s shows to London this Autumn. With 50 shows, there’s  something for everyone at Pleasance London, with all performances now on sale.  Settle in for a wild ride below as we give you highlights on each show – or go straight to buying your tickets here: www.pleasance.co.uk

Joe Sellman-Leava will kick off the season with two of his sell-outs; Fanboy (14th – 16th October) is a love-hate letter to pop culture and nostalgia, while It’s The Economy, Stupid (14th – 16th October)  will embark on a quest to uncover how the economy wins elections, and why the force that  dominates our lives is so complicated! Hughie Shepherd-Cross’ sixth Fringe play, Gang Bang (17th – 18th October) tells the story of one man by the name of Don Lambrini who in 1945, when Sicilians  were pouring onto boats for America, accidentally boarded an all-inclusive Thomas Cook cruise to  Blackpool. Bebe Cave’s The Screen Test (17th – 19th October) is a one-woman dark comedy about  delusion, desperation and dreams following an aspiring actress in 1930s Hollywood, so desperate to  become a star that she might just sacrifice herself along the way. 

Using just a single deck of cards, one of the best card magicians in the world, Andrew Frost will  enrapture audiences with Andrew Frost: Cards on the Table (19th October), delving into the  mechanics of sleight of hand, the level of discipline needed to become a card cheat, and how  feigning good fortune can bring about genuine luck. Award-winning writer Emma-Louise Howell  (BBC Writer’s Room Finalist)’s arresting debut play I Really Do Think This Will Change Your Life (21st – 23rd October) is a hair-pulling, fake-nail scratching, catfight against what it means to be a  #GirlBoss. 

Two of Pleasance’s Charlie Hartill Fund winners will return to London as part of the season. Sweet  Beef Theatre’s Crying Shame (23rd October) is a cabaret-show-cum-wellness-journey all about  loneliness; you might be lonely, but you’re definitely not alone. Sierra Sevilla’s For the Love of Spam (7th – 9th November) is a comedic, multi-sensory, participatory one-woman show dedicated to two  things: canned meat and colonialism. 

Lubna Kerr’s Chatterbox (24th – 25th October) recalls the labels we are given in primary school and  looks at the impact they have for the rest of your life. Ethereal artist LULA.XYZ presents her brand  new show I AM – A Walking Universe (25th October), spotlighting overt medical racism prevalent in  the UK alongside the first episode in the series OommoO (25th October), which considers what  happens when you’ve left everything behind for the promise of something better and the something  ‘better’ isn’t ‘better’. 

Shows from the Pleasance Edinburgh National Partnerships scheme are heading to London too.  From multi award-winning Documental Theatre, Scaffolding (26th – 27th October) is an explosive  show about strength, love and community. Winner of The Debut Award at this year’s Besties Òran (11th – 13th November) is a thrilling story of a man on a journey to rescue his best friend from the  Underworld. 

Following his previous smash hit successes, Luke Wright returns with a new set of poems that get to  grips with the idea of JOY (26th October). In her debut storytelling show 16 Postcodes (29th – 31st October), Jessica Regan (BBC, Channel 4, Guilty Feminist) shares lessons lived and learned from a life  as she moves North, South, East and West, finding out which is best. How a Jellyfish Saved the  World (30th – 31st October) is a heart-warming, tentacle-tapping, puppetry musical from Jam Jar  Theatre. Inspired by real events, 2024 Untapped Award winner Drum (4th – 6th November) is a joyful  and poignant play fusing storytelling, music and dance; capturing a unique snapshot of the swinging  sixties. 

Award-winning drag king and London’s loveable nature boy, Bi-Curious George, invites you into a  raucous celebration of queerness and the animal kingdom in the love letter to nature that is Queer Planet (14th – 16th November). Sorry (I Broke Your Arms And Legs) (18th – 20th November) is a  riotous debut PowerPoint presentation combining the thrills of World Book Day with the hilarity of  the Maths Olympiad from Maybe You Like It. And, rounding off the theatre programme, Jake  Roche: Neporrhoids! (21st – 23rd November) is a (mostly) true story following the meteoric rise and  devastating fall of chart-topping boyband member Jake Roche. 

In the comedy programme, Fringe legend award winning John-Luke Roberts will launch the season  in style with John-Luke-a-Palooza (13th and 20th October) as he does all 10 of the solo comedy shows he’s ever done in a row across two days! Named ‘the rock’n’roll star of British Comedy’ by Rolling  Stone, Rachel Fairburn is back with seven deadly characters, in Rachel Fairburn: Side Eye (6th November). Most Outstanding Show nominee at MICF 2022 and 2023, Laura Davis returns with  Albatross (13th and 14th November), rapid-fire stand-up that journeys through nature, empires,  lighthouse keeping, existentialism, birdwatching and haunted microwaves. 

After an encounter with a wildlife enthusiast, Funny Women Award finalist Amy Mason explores  what it means to be a human animal in Free Mason (16th November). What a year it has been for Freya Mallard, with a baby, a Fringe debut and now a London transfer; The Bounce Back (27th November) proves that being a new mum and performing a smash-hit stand-up hour can go hand in  hand. With uproarious anecdotes and sharp wit, Rosco McLelland takes audiences on a rollercoaster  ride in Sudden Death (29th November) through the highs and lows of day-to-day life, peppered with  Scottish charm and unexpected twists. 

Holly Stars in Justice for Holly (18th October) tells the story of how she got there to the Superdrug  security office, with a handbag full of shoplifted lipsticks. After 2023’s successful debut, the wonky  and worried award-winning comedian, and Stoke-on-Trent urchin Adam Flood returns with Back Of  The Spoon (14th November). Join UK-based Japanese comedian Yuriko Kotani, one of The Times’ Top  Three Rising Stars of the Fringe, in Meanings of Life (23rd and 28th November). 

The debut hour from Nerine Skinner, Funny Women Content Creator 2023 Runner Up and Britain’s  Got Talent Semi-Finalist – The Exorcism of Liz Truss (21st October) comes to London. Join magician,  comedian and charlatan Pete Heat on a surreal journey into your own brain in Bogus (21st November). Indo-Kiwo-Ausso comedian Runi Talwar presents his award-nominated debut hour with  Runi Talwar as ‘Runi Talwar’ in Runi Talwar: The Runi Talwar (20th November), in this incredible  story of a guy who was once told he should ‘get his name out there more’ and took it far too  literally. 

John Meagher, the Host of Radio 4’s The Divil’s Own is coming to London with his debut show Big  Year (26th October). Isobel Rogers: will ask modern life’s essential questions in How To Be Content (9th November), looking at baby fever, polyamory, living at home and even moving into your mum’s  house (with your boyfriend). André de Freitas will bring Work in Progress show Makuma (18th October) that tells the story of how, upon turning 30, he discovered he was under a Brazilian curse  from his ex called Makumba. 

Think Taylor Swift…on acid; Pop princess and multi-award-winning musical comedian Katie Pritchard  has mastered up to and including 12 instruments, to bring you the era-defining bonanza, I Kiss The  Music (19th November). Pleasance audiences can enjoy a gift of a show from a 2x BBC New Comedy  Award nominee, Alfie Packham in My Gift To You (15th November). After over a decade as a critically  acclaimed stand-up, Ollie Horn is at the business end of his late-20s, and he’s decided he’d like a  wife; get ready for the comedian’s toxic rebrand with Comedy For Toxic People (And Their Friends) (27th October).  

This November, Sasha Ellen brings us My Milf-Shake Brings All The Boys To The Yard (4th November), a stand-up show about all the things that hit you like a ton of bricks in your thirties.  Expect group meditation, an effective technique to deal with annoying people, the magic of velvet  sofas all mingled with a semi-intellectual demeanour from German based Libyan stand-up Mustafa Algayadi in Almost Legal Alien (19th October). On eBay there is only one winner in a sea of losers,  but in Ruby Carr’s eBae (8th November) everyone is a winner. 

Mandeep Singh Presents Singhin’ In The Rain (28th November) is a silly, joyous, comedy show from Mandeep Singh about cracking on regardless of the circumstances. Prepare to get spiritual at  Bishops’ exploration of love, death and a third general theme in Farewell Bruce Porcelain (16th November), an anarchic hour of surreal sketch comedy, all set at Bruce’s funeral. Expect a lot of  props, accents, music, an existential crisis and plenty of artistic self-doubt from Chris East in My  Brain Is Soup, Your Hands Are The Spoons (9th November).  

Michael Kunze is superstar actor Mitch Cooney in his Hollywood Odyssey Infinity Mirror (7th November). After sold-out runs at Camden Fringe and VAULT Festival, former journalist and ex professional doomscroller Suchandrika Chakrabarti tries to explain the news to her 5-year-old niece, through character comedy and props, then speculates about the future with Doomscrolling (21st November). Award nominated character comedian and failed wiseguy Ben Goldsmith welcomes audiences to CrimeLandTown (7th November), playing every character in a ‘hilarious’ and  ‘one of a kind’ screwball comedy. 

Rich Spalding offers audiences a stand-up comedy show about life, death and what happens after  that in Gather Your Skeletons (25th October). The Awkward Silence present a kaleidoscope of  characters in their hallucinatory sketch comedy feast Mind Milk (5th and 6th November). Mischievous  balding duo Aram Balakjian & Alexy Walexy transfer their sell-out Edinburgh fringe show Shiny  Things (29th October) to London, promising a night of pure silliness and uncomplicated delight! 

Finally, in the 20th year of the Comedy Reserve, the Pleasance are bringing The Pleasance Comedy  Reserve (12th November) back to London for the first time ever. After a sold out run at this year’s  Fringe, the UK capital can catch four of the hottest new comics; Marty Gleeson, Rohan Sharma, Sam  Williams and Sharon Wanjohi.  

It’s a season not to be missed this Autumn at The Pleasance – get your tickets while you still can! Tickets are available at http://www.pleasance.co.uk. 

REVIEW: Wonder Boy

Published on by Jamie O' TooleLeave a comment

Rating: 4.5 out of 5.

An impressive exploration of identity and finding your voice

Wonder Boy, an uplifting and poignant play written by Ross Willis, is sure to take you on an inspiring and deeply emotional journey. Directed by Sally Cookson, this 90-minute coming-of-age drama explores themes of identity, self-acceptance, and the struggle to communicate, centering on Sonny, a 12-year-old schoolboy grappling with a stammer. When Sonny is cast in a school production of Hamlet, he is forced to face the reality of his stammer head-on. His story goes from frustration to heartache, and ultimately triumph, making Wonder Boy a play that celebrates kindness, patience, and community.

Sonny, played by the excellent Hilson Agbangbe, is dealing not only with the burden of his stammer but also the emotional weight of having lost his mother. His shame and fear around speaking are ever-present, and the play invites us to feel his inner turmoil intimately; at several points, we hear Sonny’s internal dialogue by slowing down in real-time and letting us hear his panicked and frustrated thoughts as he struggles to speak and longs to ‘soar,’ ie. speak fluently like everyone else. His imaginary friend, Captain Chatter (Ciaran O’Breen), is a sounding board for Sonny’s frustration and anguish over his stammer. When he stammers badly, Captain Chatter is there to comfort and discourage Sonny from attempting speech again, reinforcing his instinct to withdraw from others. He is also a representation of Sonny’s love for art and drawing, his one safe space where he can fluently communicate his ideas and feelings.

Agbangbe’s portrayal is both vulnerable and relatable and I was on his side from start to finish. His emotional outburst midway through the play, where his frustrations spill out during Ms. Wainwright’s lunch break, is one of the most powerful moments in the show. This touching scene is met with a surprising confession from Ms. Wainwright (Eva Scott), who reveals her own past struggles with a stammer, bridging the emotional gap between teacher and student.

The scriptwriter, Ross Willis, must be commended for such well-written dialogue. The conversations between Sonny and the supporting characters are full of nuance and wit, bringing fun and depth to what could otherwise have been a heavy narrative. Every character, from Sonny’s charismatic and outspoken friend Roshi to the no-nonsense but caring Ms. Wainwright is brought to life with unique personalities that feel authentic and layered. Roshi (Naia Elliott-Spence), who Sonny meets in detention, gradually becomes a close friend and sprinkles humour throughout the story with her brazen and outspoken nature. However, I thought the play’s frequent swearing sometimes felt overused as a cheap way to elicit laughs, which once or twice detracted from the dialogue’s impact.

Much of Wonder Boy‘s tension comes from the conflict between Ms. Wainwright’s empathetic approach to teaching and the authoritarian stance of the new head teacher, Miss Fish (Jessica Murrain), who is solely concerned with making the school look good on paper. This character, distant and dismissive of the “troubled” students, adds a layer of social commentary to the play, touching on the disconnect between educational institutions and the multi-faceted, individual struggles of students like Sonny.

Director Sally Cookson deserves praise for her handling of these complex themes. The story unfolds in a way that feels natural, with dynamic pacing and plenty of emotional highs and lows. Cookson’s direction ensures the audience never loses connection with Sonny’s emotional journey. The visual design, created by Katie Sykes, complements this narrative beautifully, using minimalistic set pieces and multimedia projections to reflect the chaos of Sonny’s mind. The set design is functional and inventive, drawing the audience into Sonny’s world of letters, words, and fragmented thoughts. 

For all its emotional depth, Wonder Boy is an uplifting and inspiring play. The touching ending leaves the audience with renewed hope and optimism as Sonny finally begins to accept himself and his stammer. Wonder Boy is a heartwarming and skillfully written exploration of the trials of adolescence and the power of self-acceptance. Its combination of fun, humanity, and emotional depth ensures it resonates long after you leave the theatre.

In Conversation with Titty Kaka

Published on by Tabitha JamesLeave a comment

We sat down with acclaimed drag star Titty Kaka ahead of the launch of their brand new book, Delusions From a Decade in Drag, on Friday 4th October at Blackpool’s Aunty Social.

Congratulations on your 10 year anniversary as a drag superstar! What got you into drag performance in the first place?

Thank you! I originally trained as a dancer in all different styles looking to break into the entertainment industry. It just so happened that the first audition I went to in May 2014 was for Funny Girls in Blackpool. At the time they only had a drag performer spot available and the person I was replacing had been there for 14 years so I was well and truly thrown in at the deep-end! I’ve always loved the idea of performing and kicking my face front-row centre in a feather backpack was a great start!

How does it feel to be launching your book where you first started performing – in Blackpool?

It really does feel somewhat surreal as, like with most things, I never really set out to write a book. What started as a few handout sheets for the planned workshop weekender, quickly gathered traction and snowballed into the publication. As a celebratory milestone for my career it also feels like a full-circle moment to launch it in Blackpool where it all began. 

You’ve also just finished hosting a ‘Workshop Weekender’ as part of Queer Amusements, helping new performers build their own drag personas. How was that?

Because drag and persona are something incredibly unique and varied for each different performer, it was hard to anticipate who would be attending and what experience everyone had. Naively, in my head it would be a room fully of performers wanting to further develop their personas and careers, however it was such a great surprise to find that a few of the participants had never performed in drag or had no intention of creating an alter ego, but just found the idea of drag very interesting. Regardless it lead to some very in-depth rich creatively conversations with a group of people with so many varied experiences. Being able to see people flourish and grow ideas or challenge they own way of perceiving themselves was a true honour. One of the participants after the workshop said it had been like therapy for them and honestly I think it was a cathartic process for most if not all involved. At the end of the first day, I got into Drag slowly in-front of them as they asked questions and wrote things down. It was great to almost demystify this intimate process for everyone regardless if they would go to apply makeup or not.

What makes Blackpool so special for you?

I’m originally from Rotherham, South Yorkshire, however Titty was born in the dressing room at Funny Girls so I like to see Blackpool as almost a second home, and the North Pier is definitely listed on Titty’s birth certificate for location. I had just turned 18 and it was the first time I had left my family to live alone so my time at Blackpool felt like a real freedom to get out, learn and perform 6 nights a week.

What’s been the highlight of your career so far?

Other than unboxing the physical copy of my book, and seeing the gold foil glisten in the sun, there are so many to choose from. Performing at the VOGUE Paris Foundation Gala in 2018 in Paris was a real pinch-me moment. Brushing shoulders with the celebs and fashion icons to then see my arse printed across a double spread in a VOGUE Paris Issue is something I’ll cherish. Also more recently being ‘The Diva’ as part of the cast onboard the Virgin Voyages fleet bringing 2 brand-new ships into operation creating events and contributing to the entertainment offerings onboard the fleet that is currently shaking up the travel industry feels like a real achievement.

What are you looking forward to doing next?

There are so many exciting things on the horizon. Creating theatre and finding a flow of performing back in England and specifically Blackpool. I’m looking forward to sharing the book with everyone and to enjoy some rest after a few intense months of work. Ultimately, creatively collaborating with Harry Clayton-Wright to bring more opportunities to newer performers and also to create some new inspiring pieces of theatre!

REVIEW: Traplord

Published on by Maria Mădălina IfrimLeave a comment

Rating: 4 out of 5.

A Bold and Unsettling Exploration of the black identity

“Traplord,” staged at Aviva Studios in Manchester, is a show that masterfully creates an atmospheric, almost immersive experience from the moment it begins. The production subverts expectations, even though it starts with a stereotypical image right from the start: the cast is dressed in military and combat-style black clothes and accessorized with gold jewellery. Through a mix of dance, music, and spoken word, “Traplord” tackles complex issues of racism, masculinity, privilege, and stereotypes with a visceral intensity that lingers long after the performance ends.

One of the most intriguing aspects of the show is its use of video game metaphors and projections, which cleverly bring the characters to life in a way that feels both innovative and raw. This blend of the virtual and the real adds layers to the performance, making the audience question what is real and what is merely a construct. Although I could piece together motifs and ideas, I could not form a narrative. But maybe that was the point – every part being better than the sum of it. However, some moments felt a little heavy-handed; for instance, the recurring pig mask, seemingly inspired by “Lord of the Flies,” felt a bit too on the nose in its symbolism.

The choreography is fluid and dynamic, seamlessly weaving between movement and narrative and spoken word (particularly with an entry about the connection of Manchester with the slave trade). Performances are consistently compelling, particularly Kanah Flex, whose discomfiting ability to contort his body stole the show and left a lasting impression. His physicality added an extra dimension to the performance, highlighting the tension between the human “shell” and the mental anguish.

Despite these strengths, “Traplord” does occasionally fall short in its storytelling. While it is visually stunning—a true feast for the eyes—the narrative thread feels loose at times, struggling to fully connect its many ambitious ideas. The motif of the “perfect human,” which repeats throughout the show, remains particularly puzzling, its purpose is never fully explained, leaving the audience grasping for a clearer message. This lack of clarity, coupled with moments of sensory overload, can make the performance feel overwhelming and disjointed at times.

Given its Olivier Award-winning pedigree, expectations for “Traplord” were understandably high, and in many ways, it delivers on its promise. It’s bold, challenging, and often uncomfortable, pushing the audience to confront their own biases and preconceived notions. However, with a bit more focus on narrative cohesion, it could transcend its already impressive achievements. For now, “Traplord” remains a powerful, if occasionally disorienting, exploration of modern identity that is as thought-provoking as it is visually captivating.

Runs until 29th Sept: https://factoryinternational.org/whats-on/traplord-ivan-michael-blackstock/

REVIEW: The Fairy Queen

Published on by Jasmine PLeave a comment

Rating: 4 out of 5.

 A charming evening of mischief, magic and merriment

Henry Purcell’s semi-opera The Fairy Queen, based loosely on Shakespeare’s A Midsummer Night’s Dream, was performed at the Cadogan Hall on September 25th as part of the ‘Choral at Cadogan 2024’ programme. The music was performed by The Sixteen, directed by Christophers, and were accompanied by guest singers Matthew Brook (baritone/drunken poet/ Coridon) and Robin Blaze (alto/Mopsa), as well as several choir sopranos. Purcell’s music is accompanied by narrator Antonia Christophers, actress and co-founder of theatre company Box Tale Soup, with the script specially written by Jeremy Sams.

As Antonia points out with good humour, this is a rather pared back production: we are told to imagine the rich and vibrant forest scenery, the actors, dancers and scene changes. The script worked well, and was performed with vivacity and wit by Antonia Christophers (narrator-cum-Titania). And yet, despite Christophers’ insistence that Purcell’s music can tell the story on its own (I do not disagree), I found myself longing to see this work staged as it was for its premiere at the Dorset Garden Theatre in 1692: with no expense spared.

Brook and Blaze’s ‘scenes’ were easily the highlights of the performance, partly because these parts were more dramatised. Most of the solos consisted simply of singers stepping forward to the front of the stage, before falling back into line. The elements of pantomime, when they happened,  made it far easier to engage with the story unfolding on stage and in the music. They were also, of course, brilliantly comedic. 

I left feeling that my craving for narrative detail was not quite satiated, and that following the story required audience members to be both intimately familiar with Shakespeare’s work, and the five masques that make up Purcell’s score. Nevertheless, Antonia makes a riveting, magisterial Titania, and the foregrounding of her character through Sams’ script brought a wonderfully amusing new perspective to this classic tale.

This was an astutely contextualised and well-executed performance. I can find little fault beyond my own personal preference, and a lack of familiarity with Christophers’ beloved Purcell.

REVIEW: Strings

Published on by duchenemilyLeave a comment

Rating: 4 out of 5.

A two-hander with captivating performances about trying to find love and also yourself.

Strings is a new writing piece by Scottish and Irish London based theatre company Slàinte Theatre. The piece features absolutely beautiful performances by duo Kim Taylor and Aaron Devine who bring to life the characters of Sophia and Alex with tenderness and care. 

The piece opens at a party, made intimate by the cosy space of The Lion and Unicorn Theatre and you really feel as though you are peering in to watch this relationship blossom, in a moment that is both exciting and familiar. 

What follows the falling fast and hard meeting of Alex and Sophia, is the trials and tribulations of adult life – family death, worries about finances, jealousy, career failings -meaning the string that binds these two individuals together is no longer tight enough.

Devine brings a multi-layered performance to the complex and confused character of Alex, in a particularly moving monologue surrounding the character’s feeling of always wearing a mask, never knowing who his true self is and feeling out of place everywhere after leaving home – a moment most 20 somethings can relate to. Devine’s performance is so heartfelt you can really feel the character’s struggle and how close he is to cracking. 

Taylor’s Sophia is initially exuberant and magnetic. As the play progresses you can sense how her character is being stifled by her relationship and environment. Taylor’s subtle performance and clever use of physicality displays this, retreating further into herself. As does the domestic set, illustrating Sophia’s confinement, deeply at odds with her dreams of music and living in Italy. 

A tale as old as time, artsy girl meets STEM boy, Strings is relatable and nostalgic. In this there is both magic and repetition. But any notions of predictability are brushed away by these actor’s remarkable performances. Taylor and Devine are clearly ones to watch. 

REVIEW: The Dirt

Published on by jamesrobertson42Leave a comment

Rating: 4 out of 5.

Absurd and creative ecological pastiche.

How will climate change irrevocably effect our lives when it is already here?

Marianne Tuckman, a performance and theatre-maker based across Leeds and Berlin, brings her one-person piece, “The Dirt”, to the Camden People’s Theatre. Part experimental movement piece, part indelible spiral into chaos, “The Dirt” creates an entrancing world through little more than the actor’s body, a ladder and two pineapples.

The piece begins with Tuckman draped across the top of the ladder, before beginning to eerily whisper as she descends the steps. We primarily follow a hapless suburban housewife, looking after her two children who happen to be embodied by two pineapples and trying her best to keep her house in order. We also meet the punk, tasked with the upkeep of the house, but despite the best efforts the place continues to get dirtier and dirtier.

Tuckman’s performance is what anchors the show. An endlessly watchable performer, Tuckman holds the room with an uncanny power. Her lithe ability to switch into the bodies of the macho punk and the unassuming housewife are bold to the point of caricature, instilling these etchings of characters with an enrapturing energy. 

So much is achieved in discussing our current and future relationship with the climate crisis with so little mention of it, evoking comparisons to Beckett or Caryl Churchill’s “Far Away” in the way the piece hints towards catastrophe while merely skirting on its edges. The presence of the children, Gustav and the Three-Year-Old, call into question what right we have in birthing children when we cannot even keep our own homes in order, while their personification as fruit only adds to the layers of subtext the play deals with.

“The Dirt” is a deftly woven performance piece that is wholly engaging and ripe for discussion. 

FEATURE: Winghaven Park – Sneak peek at new musical

Published on by tabithacatlinLeave a comment

The foundations of a new heart-warming story of finding love during the darkness of World War Two on a small island in America where the community are practically family was on show at the Actors Church this week.  

If you had to opportunity to catch the workshop showing of Lisa Peretti’s ‘Winghaven Park’ directed by Gabriel Barre, you will feel as lucky as me. However, if not… Then, let’s paint you a picture.  

In 1944, a small island in America, Vashon Island, where a small community of people who are so close they are practically family are pushed even closer; holding one another up during the conflict and terror that World War Two forced on to countries and citizens all over the world. Our star of the show ‘Vera Webster’ is played by Summer Strallen. Strallen who is no stranger to a World War Two character having starred in the BBC’s ‘Land Girls’ – a 2009 TV series about women during war time. Her character ‘Vera’ in Winghaven had run away from her home in Vashon Island to live her dream of being a Hollywood star, leaving a huge mess behind her.  

The foundations of this upcoming show are focused on her being forced to return to her home island for a short time and her exploring the memories she pushed far away. Some things you may wonder: HOW COULD SHE FORGET? However, it is a story of rekindling love; from a long-lost lover, family and the community who once knew her. The talented Jamie Muscato plays her old flame ‘Jim’ the Reverand of the island. This duo’s stage chemistry is massive and when it’s on stage you will be in for a treat! 

Maisie Mardle and Nicholas Teixeira, as the two children in the show, play Sam File and Ava Webster, some prominent and big roles in the show. It is very interesting to see such a big opportunity for two child actors, roles they can truly sink their teeth into and demonstrate their significant, and growing, talent! The cast have a range of interesting and individual roles to continue exploring and what was presented at the Actors Church was only the beginning of something beautiful.  

The World War Two storyline will bring some poignant and melancholy tones to the show. Be prepared to have moments of thought and some edge of your seat tense moments! This is only in the works and there is so much more to be creatively explored for this new piece.

Just a side note: What a beautiful and unique setting the actors’ church is! The intimate, small setting opens up the show for a closer connection to the audience and it is a wholesome experience to watch a piece of theatre there! A rare theatre treat!  

Watch this space for next steps with bringing this musical to the stage…

REVIEW: The Lieutenant of Inishmore

Published on by nickjkehoe1 Comment

Rating: 3 out of 5.

“An excellent script, somewhat let down by its production”

Martin McDonagh’s play, “The Lieutenant of Inishmore”, follows the story of Padraic, lieutenant of an Irish National Liberation Army splinter group as he returns home to Inishmore following the death of his cat and explores the fallout that ensues after he learns of its murder.

Any fans of Martin McDonagh’s other work will recognise immediately the tone of the writing – the dark, absurdist humour present in his films (notably In Bruges and The Banshees of Inisherin) and other plays is on full display here with the dialogue and set pieces of the play forming a vehicle for its more complex themes. The dialogue in particular is sharp and witty as always and the emergent narrative is utilised excellently in defining characterisations and either lifting or darkening the tone of the play as desired.

In this, the Everyman’s production, directed here by Chris Sonnex, they make good use of the small space available in the theatre through utilising a combined set – no need for changes of background or set dressing mean that the play certainly flows much better than it may have otherwise. Were it to need longer breaks between scenes the pace of the production – which is almost a predicate for the narrative and dialogue to flow well, in this play, I would say, far more than most.

The lighting and stage production is thoroughly adequate throughout, though with the limited set and small number of lighting effects there is little to notice or to really go wrong, yet it is worth noting that what minimal effects there are are competently rendered and do work seamlessly with the larger production.

The acting on display is unfortunately broad, however, with a lot of the subtleties of the script lost beneath a veneer of what ultimately amounts to insincerity. Certain lines and scenes are overtly played for laughs, with the result being that at many times it almost loses the ‘dark’ element of ‘dark comedy’ and the feel of the production can trend towards the pantomime-esque.

This is a shame as it undermines a lot of the more nuanced themes presented in the play (questions of vengeance, violence, and the nature of factionalism, for example, are all touched upon) and means that some of the less obvious of them are missed, in my opinion, entirely. They all seem to end up mired in the aforementioned insincerity and the result is an unfortunately diluted version of the original play. Obviously in theatre one must project and address the audience – there is certainly not as much room for subtlety as in film, with the roving camera – yet too much of the dialogue feels one-note and lacking in appropriate emotion or affect. Ultimately, as the actors left the stage, I was left with the singular thought: ‘It could have been better.’