Month: January 2025

REVIEW: The Double Act

Published on by L. StanfordLeave a comment

Rating: 5 out of 5.

A hilarious and horrifying satirical triumph.

On a dark and stormy night in Dalston, The Double Act transported critics and theater goers to a storm laden “maisonette” where old comedy-partners, Billy and Cliff, reunite, and their ghosts come back to bite them. This new work at the Arcola Theatre is doubly hilarious and horrifying: a must see for satire enthusiasts.  

The Double Act takes place over the course of one evening in the fictitious run-down resort town of Saltmouth. Dried up comedian Billy Bash, played by Nigel Betts, is in town for the final night of his final tour clenching to the remains of his title as “Britain’s Third Most Offensive Comedian”. Before taking the stage, he stops at the maisonette of his ex-double act partner Cliff, a comedian, turned criminal, turned “clinically insane” eccentric python owner, played by Nigel Cooke. The duo’s reconciliation is brokered by a seemingly benign upstairs tenant and caretaker, Gulliver (Edward Hogg), who’s initially pure intentions become increasingly doubtful. 

This play is absurd in the best possible sense of the word. The plot, circumstances, and characters are incredibly ridiculous and non-realistic. However, the question of what makes someone good or evil at the heart of this play is interrogated with more real diligence than I’ve seen in many hyper-naturalistic dramas. The Double Act is a three-hander in which no character is good, nor obviously evil. They have all done bad things and have sometimes had good intentions. Are their wrong actions wrought by nature or nurture? Are they motivated by ignorance or malice? This uncertainty inherent in the human condition, makes these three fools innately truthful. 

This moral ambiguity is bolstered by the satire embedded in the script. The Double Act is journalist turned playwright Mark Jagasia’s second full-length play. Jagasia’s newsroom background bleeds through the work as some jokes play as if they’ve been ripped from the headlines. Both Billy and Cliff are self-described bigoted, sexist, racist comics. Billy does not care whom his jokes hurt if his audience gets a good laugh. The Double Act not only challenges the validity of this right-wing stereotype but does so through humor. In judging everyone, no one is alienated. Jagasia actively engages with provocative topics and dismantles taboo talking points into moral questions about how we engage with our current media landscape. Let’s just say I have never heard a more thoughtful “Hitler joke”. Jagasia’s comedy, while edgy, is brilliant. 

Though I thoroughly enjoyed The Double Act, the pacing at the top of the show could be tightened. The play starts off quite slow and takes its time to warm up. Jumping into the world of the comedy sooner would make the exposition at the beginning more engaging. However, my main critique of The Double Act is the play’s ending. While the final scene of the play is brilliant, the penultimate plot point, though shockingly entertaining, departs from the notion of moral ambiguity and nuance that the play so excellently establishes throughout. I can’t provide more details without major spoilers, but I wish the penultimate action was less severe so that the play’s overarching theme of moral impurity could sustain. 

Criticisms aside, The Double Act is an excellent piece of new work. Not only is the script compelling, but director Oscar Pearce has brought it to life as an atmospheric clown show. The level of specificity in the acting, sound, costume, and set design support each other to build the world of this spooky “maisonette”. For example, at one point when Gulliver opened one of Cliff’s notebooks, I saw that it was not only completely filled in, but had coffee stains and drawings on the pages. Similarly, the soundtrack which features songs such as “Freedom” by Wham and AC/DCs “Highway to Hell” reinforce the conundrum of nostalgia as it pertains to Bill and Cliff’s comedic tone. This attention to detail evident throughout the piece further transports the audience to this sinfully silly night in Saltmouth. 

If you like the supernatural, or the politically incorrect The Double Act is the fringe work you’ve been looking for. It is a play that is scary, silly, thought provoking, and even has an “imaginary” snake. The Double Act is satirical gold. 

Morris Gilbert

IN CONVERSATION WITH: Morris Gilbert and Óskar Eiriksson

Published on by Tabitha JamesLeave a comment

We sat down with Morris Gilbert (top), and his producing partner Óskar Eiriksson (L), ahead of their newest show, DocDoc, opening in the UK at Churchill Theatre, Bromley on 5th Feb (until 15th) and then transferring to Palace Theatre, Southend (18th – 22nd Feb). Tickets here.

With DocDoc being an international success across 37 countries, what drew you to bring Laurent Baffie’s comedy to UK audiences, and how do you think it will resonate here?

Morris Gilbert: Precisely because I saw it being so successful around the world, particularly in my productions in Mexico, Argentina, and Israel. I thought that, being so universal, it was essential to bring it to UK audiences and share with them this highly intelligent, comedic, and moving piece of theatre.

Óskar Eiriksson: I was fortunate enough to have seen the show, by coincidence, when I was visiting my producing partner Morris in Mexico. Of course the show was in Spanish, and even though I don’t speak a word, I was blown away by the show’s physical comedy and energy, and judging by the audience’s brilliant reaction, I knew we had to bring it to the UK….and finally, here we are!

The play tackles themes of mental health and obsessive-compulsive disorders with humor. How do you balance addressing sensitive topics while maintaining the comedic tone?

Morris Gilbert: I believe the best thing we can do is learn to laugh at ourselves. Laughter is often the best remedy, and the team approaches these sensitive topics in a respectful yet lighthearted way. Being able to laugh at these challenges is the best form of empowerment.

Óskar Eiriksson: Cliches like laughter being the best medicine are there for a reason, and given all of the weight of the world right now, I think ‘Doc Doc’ is a humorous but moving way of bringing the focus onto what is really important- respecting and caring for one another, and of course, laughing.

You’ve both produced iconic works globally. How does DocDoc fit into your broader vision of bringing diverse and impactful productions to new markets?

Morris Gilbert: It’s incredibly exciting to explore new territories and discover fresh ways to communicate through theatre. Connecting with local cultures in this way not only enhances the production but enriches everyone involved.

Óskar Eiriksson: I love the fact that, being about the human condition, Doc Doc is so very relatable and touching to everyone who sees it. To me, the show has no borders and having worked in theatre internationally for years, this hilarious piece is the perfect fit.

The UK premiere of DocDoc is in partnership with UK anxiety charity No Panic. Can you tell us more about this collaboration and its significance to the production?

Morris Gilbert: This collaboration was crucial for us because we know that those who suffer from OCD often identify deeply with the characters in the production and appreciate seeing their experiences represented on stage in such an intelligent way. Partnering with a mental health organization is a natural fit for this play; we’ve done it in other countries where it’s been performed, and it’s always been a mutually beneficial arrangement.

Óskar Eiriksson: We are so pleased about the partnership! Being a comedy with content of a serious nature, we feel it’s important that it’s clear that the issues are taken seriously as the show opens minds and helps to heal through comedy.

What was your process for assembling such a talented creative team, including Ian Talbot as director and the celebrated cast, to ensure the play’s success in its UK debut?

Morris Gilbert: When producing theatre, you have to trust in the process and, sometimes, in fate. I didn’t know all the talented people who are now part of this creative team, but I believed the play would attract the right individuals. Meeting Ian Talbot has been a dream come true, and our cast is absolutely brilliant. We sought each other out until we came together—luck was definitely on our side.

Óskar Eiriksson: We are thrilled to have Ian with us. We clicked instantly and he is an absolute dream to work with, and all of us with Debbie O’Brien as our casting director and Ian at the helm, we came to find this incredibly talented and funny cast – a perfect fit!

IN CONVERSATION WITH:David Allinson

Published on by Tabitha James1 Comment

We sat down with David Allinson, Musical Director of London chamber choir The
Renaissance Singers as he prepares for a concert that celebrates one of the
greatest Renaissance composers, Palestrina.

You focus on music from the mid-15th to the mid-17th centuries. What draws you to this particular period, and how do you bring Renaissance music to life for modern listeners?

I fell in love with this repertoire as a music undergraduate, when I discovered chapel
singing, and learned about the historical context of this music. Before that, as a
teenager, I’d often played fiddle in folk bands and I found the modal orientation of the
polyphony expressive and familiar. I love this kind of music because it’s all generated
by the breath and muscle of the participants, and relies on a constant mutual
engagement, through ear and eye, as the music flexes expressively. There is a
beautiful collegiality and equality to singing polyphony – every part matters, every
voice contributes to the unfolding ‘weave’ of the texture. As for engaging audiences:
I’m less in favour of presenting this music as a comforting ‘aesthetic soundbath’ and
more in favour of drawing out the humanity and drama of composers’ confrontation
with core elements of the human condition – love, loss, birth and death – which can
connect profoundly across the centuries, despite us living modern lives, perhaps with
different belief systems; music of the Renaissance period can offer immense
intellectual reward and emotional consolation.

Your next concert is focused entirely on music by one composer, Palestrina. What will it be like?

I’m excited about this gig. Palestrina almost needs to be rescued from his own
reputation. He was, and is, so famous – such a totemic figure in the history of music
– that it’s easy to take him for granted, or to assume that you know all about him.
His technical and expressive range are far greater than most people realise.


Our programme uses the ‘hook’ of the 500th anniversary of his birth to show the
range of his achievement – from the achingly beautiful, heart-rending drama of
Stabat Mater to peppy, upbeat works for the feast of Pentecost, which teem with
rhythmic and melodic vitality. One of the most beautiful works we’re singing is his
Nunc dimittis for double choir, which perfectly illustrates his gift for mood and pacing.
This is a composer who understood the place of music within church liturgy and
architecture; every elegantly cantilevered line and harmonic shift is in the service of
the text, and never superficially so.

Your choir gives the first modern performances of many works, from the Manuel Mendes Requiem Mass last year to one by Sebastián de Vivanco that you’ll be recording this summer. What excites you most about uncovering and reviving these forgotten pieces of music?

Our choir has a special remit, built into its founding constitution, to educate as well
as propagate the music of this period. We do this mainly through our concerts but
also through public participatory workshops with invited expert practitioners, and this
core mission perhaps distinguishes us from other chamber choirs which sing
Renaissance polyphony. Of course, we sometimes take the well-trodden path and
sing ‘hits’ of the period, but in my fifteen years as conductor I have tried to
programme always on the basis of musical quality, finding music which compels,
intrigues or beguiles me, and advocating for it. I love devising programmes around
themes – be they seasonal, liturgical, geographical, or simply anniversaries of
significant personages, like our Palestrina programme. It’s wonderful to know that,
sometimes, we’re the only choir in the country (or even the world) performing a
particular piece that year, sometimes for the first time in centuries. While it’s
obviously an intriguing marketing angle to offer an audience a ‘modern premiere’, it’s
also thrilling to apply one’s musicological expertise in resurrecting a lost work, and
giving it a chance to breathe again in the hands of such an expert and sympathetic
group of singers. Music of this period often survives ‘by a thread’, and what we have
is such a small proportion of what was actually composed – and, as we’ve
discovered, some of it is of superlative quality.

With your free tickets for under-21s initiative, it’s clear you want to engage younger listeners. Why do you think it’s important for young people to experience Renaissance vocal music, and how do you make it accessible to them?

With the decline of music in schools, the reduced opportunities for young people to
access the arts in state schools, and the huge financial pressures that students can
be under (especially in a big city like London), even a modest ticket price can be a
barrier to trying unfamiliar live music. Our wonderfully loyal audiences and
supporters skew to an older demographic and are often retired, having come through
education at a time when a wider range of musical opportunities were available (and
art and music featured more often in mainstream culture). We want to ensure the
longevity and sustainability of the choir by reaching new audience members, and
allow younger people to discover, at no cost, the life-changing power and compelling
beauty of the music we sing. Of course, we hope that they will, in turn, become our
older, long-term supporters!

David Allinson conducts The Renaissance Singers’ next concert, Palestrina, Prince
of Music on Saturday 15 February at Holy Sepulchre London.


The Renaissance Singers’ next open workshop for singers, Unlocking the secret of
musical art of Josquin, takes place on Saturday 8 March and is suitable for any
singer with an ability to read music.


Tickets for these events are available at www.renaissancesingers.com and are free
for under 21s.

Follow the choir at:
● Facebook: facebook.com/renaissancesingers
● Instagram: @renaissancesingerslondon
● Bluesky: @renaissancesingers.bsky.social

FEATURE: Trailblazing fusion, the olllam, tours UK this Spring

Published on by Tabitha JamesLeave a comment

Known for their pioneering blend of traditional Irish instruments, cyclical melodies, jazz, and psych-post-rock influences, the olllam has been making waves since their acclaimed 2024 debut tour. The lineup features Scotland’s renowned whistle player Ross Ainslie, Irish piper John McSherry, bassist Joe Dart (of Vulfpeck fame), Detroit drummer Michael Shimmin, keyboard player Joe Hettinga, and guitarist Seán O’Meara.

Their 2025 tour follows sold-out shows at Glasgow Barrowlands during Celtic Connections and London’s Jazz Cafe. It also comes on the heels of their collaboration with Grammy-winning electronic artist Zedd on the track Sona from his upcoming album Telos.

Tour Dates:

Through the Noise’s Bold 2025 Season

These sessions are part of Through the Noise’s largest-ever lineup, spanning 32 noisenights across 17 cities in the UK and Europe. The season features pre-album concerts, debut performances, and collaborations with renowned classical soloists and ensembles.

Highlights include:

  • Largest noisenight: A 3000-capacity event at Troxy in London’s East End, launching Abel Selaocoe’s second album.
  • Debut performances: Artists such as Hadewych van Gent, Tiffany Poon, Nicola Benedetti, and Stephanie Jones join the lineup alongside the olllam.
  • Venue firsts: Classical gigs in spaces like Project House (Leeds), 229 and neon194 (London), and Troxy.
  • Eclectic performances: Grammy-winning violinist Nicola Benedetti, Barokksolistene’s The Alehouse Sessions, and medieval polyphonic sounds by Idrîsî Ensemble.

Through the Noise’s Artistic Director Jack Bazalgette expressed excitement about reaching the 200-gig milestone:

“Our mission has always been to reinvigorate classical music by taking it out of traditional venues and into local spaces. We can’t wait to see how audiences respond to the next chapter of noisenights.”

With a powerhouse lineup and the olllam‘s much-anticipated return, 2025 promises to be a transformative year for Through the Noise and its audiences across the UK and beyond.

Hairspray Production Photos taken on 16th July 2024 in Manchester

REVIEW: Hairspray

Published on by hannahbethjackson1Leave a comment

Rating: 5 out of 5.

You can’t stop the beat of this dazzling, feel-good triumph, bursting with stellar performances, infectious energy, and heart.

Last night, the King’s Theatre in Glasgow came alive with the infectious energy of Hairspray, the beloved musical that takes audiences on a whirlwind journey of love, acceptance, and standing up for what’s right. Directed by Paul Kerryson and Brenda Edwards with flair and bursting with talent, this production deserves nothing less than a standing ovation.

Set in 1962 Baltimore, the story follows Tracy Turnblad, a bubbly teenager with big hair and even bigger dreams of dancing on The Corny Collins Show. Beneath its lively choreography and colourful costumes lies a deeper narrative of breaking societal barriers and challenging prejudice, delivered with humour, heart, and a whole lot of hairspray.

From the opening notes of “Good Morning Baltimore” to the show-stopping finale of “You Can’t Stop the Beat,” the cast poured their hearts and souls into every moment. The lead role of Tracy played by Katie Brace with boundless charm and charisma, capturing her optimism and determination perfectly. Her soaring vocals, paired with impeccable comedic timing, made her the heart of the show.

Opposite her, Solomon Davy’s portrayal of Link Larkin was electric with his dreamy voice creating the perfect romantic counterpoint. 

Meanwhile, Tracy’s best friend, Penny Pingleton, delivered laugh-out-loud moments with her quirky mannerisms and an unexpected character arc. Portrayed by Freya McMahon, she gave us a stand out performance from start to end. A real star in the making who had the audience eating out of the palm of her hand. 

The comedic crown, however, belonged to Edna Turnblad, Tracy’s larger-than-life mother, played by the fabulous Neil Hurst. Portrayed with warmth, wit, and dazzling physical comedy, Edna brought the house down in every scene she graced. 

Strictly Come Dancing star Joanne Clifton shines as Velma Von Tussle, cha cha-ing effortlessly through showstoppers like ‘(The Legend of ) Miss Baltimore Crabs’, and commanding the stage with charisma and flare.

The ensemble cast was equally superb, exuding energy that felt palpable even in the farthest rows of the theatre. Their harmonies were pitch-perfect and high kick’s in synch, particularly during “Run and Tell That” and “Welcome to the 60s,” was a visual treat. Special mention must go to Motormouth Maybelle’s stirring performance of “I Know Where I’ve Been,” which was a powerful highlight that left the audience visibly moved. There was not a dry eye in the house. It’s clear to see why Michelle Ndegwa was selected from more than 3000 auditionees in the open call to portray this character. 

The direction shone in its seamless balance of humour, heart, and social commentary. While Hairspray is undoubtedly a feel-good show, it’s messages about inclusivity and resilience were delivered with authenticity, avoiding preachiness.

The technical aspects of the production elevated the storytelling to new heights. The vibrant set design cleverly used animations to take you from the streets of Baltimore to The Corny Collins Show.

 The costumes popped with era-appropriate flair, and the iconic hairstyles were a character in their own right, adding an extra layer of fun.

The music, performed by a live band, under the supervision of Ben Atkinson was nothing short of spectacular. Every note seemed to leap from the pit, perfectly complementing the energy on stage. The dynamic sound design ensured every lyric and line was crystal clear, further enhancing the emotional resonance of the performances.

Overall, Hairspray at the King’s Theatre in Glasgow is an absolute triumph. It’s a joyous celebration of individuality, love, and community that will leave you grinning from ear to ear. Whether you’re a lifelong fan or new to the show, this production is not to be missed.

REVIEW: Fever Peach’s Blue

Published on by nmcgarrityLeave a comment

Rating: 4 out of 5.

Bizarre and brilliantly bold: Fever Peach’s idiosyncratic EP about bees, modern life, and Doritos doesn’t fail to entertain.

My introduction to this Scottish band was simultaneously exactly and nothing like what I imagined it would be. Fever Peach’s ‘Blue’ features six post-punk comedy songs ranging from the absurdly contemplative to the fabulously nonsensical. Scott Redmond’s lyrics don’t disappoint once throughout, and the whole album can only be described as having a surreal quality that very few albums have captured before. 

The opening track ‘Fire on a Submarine’ sets the stage for twenty minutes of intense yet comedic lyricism and catchy music. I was surprisingly gripped by the lyrics and the dark humour of WHY the submarine was in fact on fire — Fever Peach blur the line between nihilism and cheer, leaving me questioning at first if this was genius, or just simply batty. (Spoiler: the answer is both.)

I remained mystified by the second, arguably most absurd song in the album, ‘Beard of Bees’. What is it about? Exactly what it suggests. Accompanied by the harmonious humming of many bees, the lyrics portray a man experiencing the highs and lows of, yes, a beard of bees. Wonderfully ridiculous and unique, it is impossible to deny the playability of the song: it’s definitely wormed its way into my playlists. (Or perhaps ‘buzzed’ is more fitting.)

Just as I thought I was getting to grips with the sort of music they created, Fever Peach surprise once again with the candid, bleakly calming song ‘LoFi Chill Vibes’. The wry humour made itself a staple of this song, that itself is reminiscent of spoken word more than anything. Painting an almost-cosy picture of the depressing state of modern life, this third song in the album might be more serious, but Redmond’s lyrical brilliance coupled with Andrew Bullick’s genius music serves as a brief break from the madness of songs before and after.

‘Issues Cosmological’ opens with what seems like another contemplative serious song, only to switch charmingly midway through. The band pose questions about, as the song name suggests, issues cosmological, before flipping the script with a fabulous bit of dialogue between the band and a curious alien. Curious about what, you may ask? Doritos. Specifically the ranch flavour. Ridiculous, but capturing the band’s eccentricity fantastically, it may not have been a stand-out but it definitely places perfectly between the previous song and the next.

Another way the band must be applauded is their ability to touch on different types of absurdity in different songs. With the energy of a 1960s boyband, ‘Jasmine Has The Blues’ deals with a young woman dealing with modern life and depression. Despite the upbeat tune and charming boyband attitudes, Fever Peach depict a painfully realistic picture of the woman’s life, creating a striking contrast that sits somewhere between unsettling and uncomfortably appraising. The lyrics ‘rose tinted, heart-shaped glasses’ don’t just describe Jasmine’s life but the song itself, making it yet another from the EP to end up in my liked songs on Spotify. 

If I had any doubt about the band’s creativity it was put to rest with the last (and lyrically my favourite) song ‘The Paris Jazzman’. Dark, haunting, and unnerving, Fever Peach demonstrate their ability to make skin crawl with their dive into horror. The repetitive instrumental serves as a fantastically creepy backdrop to the frantic search of a man to find the Parisian stranger, and, while I personally wish the song hadn’t ended with an anticlimax, overall the talent that the song displays is impossible to deny. 

If you skimmed the review, let me summarise for you: Fever Peach’s new EP ‘Blue’ is not to be missed, hitting home in a number of ways. While comedic, I applaud their ability to range between topics of horror and depression and maintain their general tone throughout. Wonderfully weird in every way, it’s no question to me that it’s only a matter of time before Fever Peach bring their wackiness to radio stations and other platforms across the nation. 

REVIEWER: Noah McGarrity

IN CONVERSATION WITH: Ivanka Polchenko

Published on by Tabitha JamesLeave a comment

Created by Russian artists, Vanya is Alive will play at Omnibus Theatre from 4 – 8th February following a critically acclaimed run at last year’s Edinburgh Fringe. Echoing the current political situation in Russia, the show is told through the eyes of a mother devastated when her son doesn’t return from war. As she starts to realise the truth, she uncovers the State’s lies and manipulation, ultimately becoming a victim to it herself. A Youngish Perspective is holding an exclusive interview with director Ivanka Polchenko.

How did you become involved in the project?

In November 2022, I was invited to participate in the Paris edition of the Lubimovka Echo festival, featuring readings of new plays written in Russian. The festival was founded in 1990 in Russia and over the years has become an important showcase for new writing, often addressing important and sensitive political, and social topics. For that reason, from 2022 it could no longer be held in Moscow. But many artists who left the country decided to continue the work even from abroad, running editions in cities they found themselves in. London too had its Lubimovka Echo organised in collaboration with Pushkin House, as did Berlin, Warsaw, Belgrade, Los Angeles, Helsinki, Istanbul, Tel-Aviv… I read the play during the selection stage and there was an immediate connection with the theme, the story and its reflections in my past and the life of those around me. I teamed up with Nikolay Mulakov who left Russia in March 2022 and was moving between different European countries. The reading in Paris showed us that the play and the approach we chose had a strong theatre potential to be developed and we decided to make it into a show. We were lucky to secure its premiere at the Edinburgh Fringe Festival several months later and since then have showed it in several independent theatres in the UK. In September we took it to Berlin and future tours include Amsterdam, Serbia and Switzerland.

Tell us about Nikolay and why you decided he would play all the parts including the mother

To tell you the truth the suggestion came from the author of the play, Natalia Lizorkina. The first remark after the title states that the text should be said by one person and I took it as a rule for the reading. But although in the centre of the story there is a female character, I wanted the story to be told by an actor and Nikolay was an instant spot-on. He comes from the documentary theatre. In Russia, he was a member of the renowned Teatr.doc company and worked a lot with texts that explored the reality of ordinary people’s life today as opposed to classical plays, but also addressed difficult questions such as LGBT rights, and recent war conflicts. All that was based on documentary material that requires honesty and transparency. Artistically, it’s the theatre that doesn’t try to hide itself behind “theatrical attributes” such as costumes, sets, inventive imagery or impressive effects. Nikolay’s theatre DNA matched up well with the simplicity called for by the text of “Vanya Is Alive”. When we started working on it, we discovered that this sort of “understatement” tells loads. And it’s really interesting to see how Nikolay gets to portray all the characters of the story without actually playing them, he’s like in a different kind of theatre reality.

It will be three years in February since the invasion of Ukraine, what do you think about how artists have responded?

Speaking from my experience, there are many initiatives trying to comprehend the tragedy of the current situation and the events unfolding in front of our eyes through art, both domestically (in the countries involved) and abroad. Being close to the Lubimovka festival, I know that the plays on the subject are pouring in. In Europe, it’s mostly the artists who had to leave their countries, that bring the subject up. But the conflict drags on and today people shy away from difficult and painful themes, especially when the conflict is too politicised. Has there been a lot of response to the war in Gaza that’s been going on for over a year? I don’t think that there is a lack of artists’ response but rather a lack of demand for this type of work defined by both the audience and institutions that can support the projects. But there definitely has been a rise of interest in such authors as George Orwell and Bertolt Brecht which is an indirect response to the current political situation.

What role do you think the arts play in addressing and highlighting these kinds of situations?

The true strength of art is its ability to appeal to the universal values shared by all of us, beyond national, political and cultural divisions. Only then can it bring reflection and understanding which is the only way to address and highlight the current situations.
Of course, I believe in the importance of the arts but not in service of political agenda. While you are at the heart of a situation, the main difficulty is having an objective view of it, which will often require not addressing the issue directly.
“Vanya Is Alive” achieves this brilliantly. That’s why we are proud and honoured to give it a voice.

How have audiences responded to the show so far?

The response has been very positive. We see that people relate to the story on a human level and in the age of political divide it’s an achievement for the project. Many are surprised and intrigued because the way the story is brought up is rather unconventional. We always end up having long conversations with people who come to say thank you after the show.

What do you hope the audience will take from it?

Food for thought. For me, it’s a play about our difficulty to see the truth. Which, again, is universal.

Vanya is Alive is at Omnibus Theatre from 4th – 8th February. For more information and tickets go to www.omnibus-clapham.org/vanya-is-alive

IN CONVERSATION WITH: James Christensen

Published on by Tabitha JamesLeave a comment

We sat down for an exclusive interview with James Christensen, stage manager for The Double Act performing at the Arcola Theatre until 22nd February 2025. Tickets here.

The Double Act involves supernatural elements and a decaying seaside setting. How do you coordinate the technical aspects to ensure smooth execution of these atmospheric effects?

It does indeed! When we were building this piece in the rehearsal room, the director and cast were constantly exploring how the ‘outside’ of our characters’ worlds would manifest in the unfolding action. Mark’s play is intentionally claustrophobic: one indoor setting, one continuous time period. But the emotional dynamics and tensions explored through the actors are mirrored by stormy weather, supernatural occurences in the house, a monstrous presence. These needed to have a strong relationship with what the actors were playing with, so that they could both live in the same theatrical universe.

So a lot of my work was to document and describe the meaning or moods that were being uncovered by the actors and director – without all those technical elements present – and feed that back to the sound, lighting and design teams so that they could complement it with their own work. That way everything works in concert with everything else and we get a nice coherent theatrical world for the audience to live in.

Now that we’re in tech, things get a little more surgical, a little more precise. The designers, director and I are hard at work getting the rhythm of every lightning-strike, crashing wave, spooky rustle and flickering light juuuuust right so that they have maximum impact and give the actors lots to go on. I’ve also got fun little cue-lights to time practical effects in line with those same rhythms. That’s a lot of fun for me, cos I’m really in the driver’s seat.

What strategies do you use to maintain effective communication between the cast, crew, and creative team during a production with complex emotional shifts?

One little trick I think is useful on my end, when making sure everyone’s on the same page with what’s needed in any given moment, is to phrase things in terms of rules, or theatrical logic. The director, designers, production manager, cast etc. will talk about emotion. That’s their thing. But if I can feed notes back that give us a common internal logic, that then anchors the emotional work going on elsewhere. For example: ‘X actor may want to leave the room, but he is somehow trapped’, or ‘Y actor is the only character who can hear the ethereal music’. Then each designer can bring their own creative and emotional intuition to bear on that idea, but we all stay in the same world.

With a confined space like Arcola’s Studio 1, how do you manage set transitions and backstage logistics while preserving the production’s tension?

Well usefully enough our set does not change at all. So that makes set transitions particularly easy. However! While I’m stuck up the back of the theatre in a tiny box, pushing various and sundry buttons at appointed times, the actors are backstage and they’re on their own.

Our smashing Assistant Stage Manager has put together a props table, with clearly-labelled spaces to collect each item they need to carry on. They’ve also got what’s called a ‘show relay’ backstage, where microphones feed back audio from on-stage so they can hear what’s happening and get ready for their entrances. If they need to enter at a special moment that is based on physical action and not a spoken line, I have a little green cue-light I can turn on that tells them to go, go, go.

They are but puppets, and I their all-powerful puppet master. All shall bow to the system, for the system is all.

But I haven’t let it go to my head or anything…

What has been the most challenging aspect of preparing for this production, and how have you approached problem-solving in rehearsals?

70% of theatre work is problem-solving. As you try to throw up ideas into a space and make them live, the reality of that exercise throws various bits of detritus in your way. Mark has a mad-cap, uncontainable imagination, and he certainly threw a flurry of challenges at us straight off the bat (occasionally – one felt in fits of paranoid fancy – intentionally). Storm-winds lash at the house; objects spontaneously and mysteriously move; dangerous weapons were intended to make surprising sound effects. But these were the fun bits.

Perhaps the challenge that reared its head most regularly was the confined nature of the set. We had to create a plausible living room in the Arcola’s unique space – with audience seating from above and from each side. Making sure the actors had room to play around while encircled by furniture and mess was a fractious endeavour.

But the cast were game. Nigel Betts, one of our actors, said early in the rehearsal process: ‘use the problem’. And that was an attitude that was common amongst the cast. Get blocked by a sofa? Let the character be frustrated by this and change course. That ethos helps a lot when you’re managing logistics.

How do you support the actors’ process, especially when working on a play that delves into psychological themes and heightened theatricality?

This is a really interesting question for this piece, particularly as it pertains to the psychological focus of the play. Each character says or does things that are deeply unpleasant, and that most would find beyond the pale; it’s kinda the whole dilemma that the show is trying to explore. Something we agreed upon early was that every actor should have the freedom to advocate for their character: to fight for what that character believes about themselves and the world – even if it’s a thousand miles away from what anyone in the room actually thinks. That’s just good practice when you’re doing psychological realism. Otherwise there’s not much crisis or conflict, and nobody learns much about anything other than what we all think about stuff. So it was an implicit rule of the room. We were gonna explore stuff that was crass, or nasty, but that this was just honest engagement with the substance of the piece, and not a reflection of personal malice. So part of what I can do day-to-day is try to maintain that freedom and cohesion.

Otherwise it’s about basic rehearsal and performance infrastructure: warm-up time, fight calls to run choreographed sequences and reiterate our staging, occasional snacks. And hitting those buttons at the right time. I really cannot stress this enough. No actor wants to be in the midst of a grand, heightened theatrical sequence and have the lights suddenly go wild for no reason.

Which definitely wouldn’t happen in a Preview performance or anything, that would be crazy… (Woops)

REVIEW: Under the Table

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Rating: 5 out of 5.

Bringing taboo topics to light, perpetrators of harm to shame, and a voice to all those hidden in the shadows

Sex. Politics. Money. Religion. These are the hot topics and yet taboo, all of us eager to delve into them and yet forced to do it in silence. We must not mess up the socially acceptable image we’ve fabricated for ourselves, so we must hide our connections with these four topics “under the table”. Writer and co-director Aaron Thakar refuses to do that. Showcasing fresh, exciting explorations of these subjects, Under the Table is a play that is both confrontational and cathartic. We feel seen, and we are forced to look at ourselves. This show is a masterpiece, for sure!

Each topic is presented in “chapters”, all individual vignettes that are linked together by an unseen voice-over. There isn’t a single weak link in this play; every element of Under the Table, in particular the script and acting, is absolute perfection!

The best vignette, in my opinion, is “Chapter 2: Politics” – don’t we all enjoy nothing more than seeing someone audacious enough to give a massive ‘screw you’ to Conservative Party politicians? Demi Idowu, portraying Khalil, a young black man living alone in a council estate, highlights Khalil’s passion and fury with immense prowess. Reminding us of painful real-life events such as Brexit, the pandemic, and the national cost of living crisis, Idowu keeps the audience enrapt with the commanding power of his voice. Khalil is brave, compelling, a joy to watch.

Under the Table’s sound design is particularly effective, very much worthy of praise. There are moments where the stage will be empty, perhaps even the lights will be switched off. We’ll sit in our seats and stare ahead, or down at our restless hands, listening to the voices of the actors. These moments are intriguing, even chilling at times. It is a testament to the brilliance of each performer, raising the hairs on the back of our necks even when they are unseen! And it also adds to the defiant sentiment of Under the Table; though there are people in this world who society considers invisible, their existence permeates every aspect of our lives. They deserve to be seen and heard, as does this brilliant play!

Thakar displays a capability of writing great social commentary – situations that are relatable enough for us to identify ourselves within, and yet original and dramatic enough for us to sit back and enjoy. He triumphs with Under the Table, and here’s hoping it leads him to even greater success in the future!

“Kick me under the table all you want, I won’t shut up…” – Fiona Apple, Under the Table

IN CONVERSATION WITH: Vittorio Scole

Published on by Tabitha JamesLeave a comment

Prior to their visit to Darlington we caught up with the soloist from Varna International Ballet to get a glimpse of life behind the scenes. Vittorio Scole performs as Prince Siegfried in Swan Lake, Prince in The Nutcracker and Romeo in Romeo & Juliet.

Where did you train as a dancer?

Vittorio: I received my ballet education at the famous Vaganova Academy in St. Petersburg, where many famous dancers, such as Rudolf Nureyev and Mikhail Baryshnikov graduated from. I am grateful to the Varna International Ballet and its excellent ballet masters to work with us. They themselves were excellent artists in the past. Each year I realise that my professional level is rising from performance to performance.

Have you visited the UK before? What do you enjoy most about touring here?

Vittorio: I’ve had a good opportunity to perform for the British audience and I’ve always been amazed at how subtly the audience reacts and understand the slightest nuances in music and choreography. I was delighted to see the audience grasping my movements and emotions that I am trying to put into the roles.

How do you keep fit and healthy on tour?

Vittorio: Our ballet masters always tell us that touring has nothing to do with tourism. Ballet tours are very intense responsible work. Therefore, for dancers, there is not even a question of how to keep fit. We must be fit and be in good physical form because it is very hard to find a last-minute replacement for the role if someone is unfit or gets sick. It is extremely important to have a good rest and relax when you can. We try to walk around your cities because each of them has amazing history. The tour schedule permitting, we try to taste local cuisine and unique British beer.

How do you relax when you’re not working?

Vittorio: We are lucky in the home city of Varna where you can find the best sea resorts in Bulgaria. Swimming gives us the best anti-stress therapy!

Apart from ballet, what is your favourite dance style?

Vittorio: I periodically fall in love with different ballet styles, because each has its own special energy. Now I am looking with interest at hip-hop, which is evolving in an extraordinary way.  

Varna International Ballet comes to Darlington Hippodrome from Saturday 8 to Monday 10 February. For full details or to book visit www.darlingtonhippodrome.co.uk or call the Box Office on 01325 405405