Month: April 2025

Image credit: Mike Bolam Photography

FEATURE: Scotland’s Circus Cabaret ‘CIRQULATION’ Returns for 10th Edition with Heritage Theme

Published on by Tabitha JamesLeave a comment

Edinburgh’s circus arts scene continues to grow and evolve as CIRQULATION, Scotland’s circus cabaret night, marks its 10th edition with a performance at Assembly Roxy on Sunday 27 April 2025 at 6pm.

Presented by Delighters, the event offers a platform for both established and emerging circus artists from across Scotland. Each edition explores a different theme, and this time CIRQULATION turns its attention to Heritage, posing questions around cultural origins, ancestral connections, and the legacies we carry or leave behind.

The show, described as family friendly and spanning a wide range of circus disciplines, is part of a broader effort to increase access to contemporary circus across Edinburgh and Scotland. With an emphasis on community engagement, the event reflects Delighters’ continued commitment to developing circus arts as both entertainment and cultural expression.

Assembly Roxy, a well-known city centre venue, will host the event and is fully accessible, with wheelchair facilities, trained staff and a designated low-sensory area available if needed.

Tickets for CIRQULATION: Heritage are now on sale via the Assembly Roxy website, and early booking is recommended due to high demand at previous editions. A limited number of supported tickets are also available for those facing financial barriers—attendees are encouraged to get in touch directly for further information.

CIRQULATION is curated by Jusztina Hermann, with Rachael Macintyre as Assistant Director and Elinor Taylor as Producer. The project is supported by Creative Scotland and the National Lottery Funding, with additional sponsorship from Polifilm Media.

This spring’s performance also comes ahead of Delighters’ forthcoming touring show Journey, which will premiere at Assembly Roxy in September 2025 before touring across Scotland into 2026, supported by Creative Scotland’s Touring Fund.

For updates, artist announcements, and behind-the-scenes content, audiences can follow CIRQULATION on Facebook and Instagram.

REVIEW: The Black Saint and The Sinner Lady

Published on by lydiaakennyLeave a comment

Rating: 5 out of 5.

A breath-taking celebration of music, dance and community.

From the moment you step into the Barbican Theatre, you know this is no ordinary performance. The space hums with anticipation, transformed into a circular jazz salon complete with a central dance floor, bar, and the feeling of something about to erupt. 

Welcomed to the space with a rousing chant of ‘more light, more power’, the first half offers a rich introduction through newly commissioned pieces as a warm up to the unique relationship of music, choreography and audience freedom. You’re not just here to watch—you’re invited into the experience, welcomed gently by the dancers moving through the crowd. There’s a deep sense of care in how the performers interact with the audience, creating something that feels both safe and electric. It has the warmth of a ceilidh and the freedom of a great club night.

It’s in the second half where Mingus’s full vision takes shape. The opening is bold and immediate from the first few waps from bass trombonist Yusuf Narçin, and the music pours out. Mingus is brought to life with fearless precision by the Nu Civilisation Orchestra under the direction of Peter Edwards, whose transcription of the complex original score is an extraordinary feat in itself. The orchestra’s performance crackles with clarity and soul.

The dancers are magnetic. Suzy Willson’s choreography, grounded in improvisation and responsiveness, gives them space to breathe, respond, flirt, confront. The standout moments come in the form of several sensual quartets: two dancers, two musicians, each pairing forming its own pulsing duet. Each dancer brings their own distinct energy: all of them unmistakably alive in the moment.

Visually, the performance is breathtaking. Hansjörg Schmidt’s lighting design sculpts the space beautifully and the costumes, designed by Marianthi Hatzikidi, are as expressive as the performances themselves—vibrant, textured, and joyously individual. Layers of colour and fabric ripple with every movement. They help tell the story of each dancer’s spirit and make the whole performance feel celebratory.

What emerges by the end is not just a performance but a transformation. You’ve been moved, physically and emotionally. You’ve seen Mingus’s music, not just heard it. This production is a masterclass in collaboration—between music and dance, performer and audience, past and present. It honours the wild genius of Charles Mingus by keeping it wild, by letting it breathe and sweat and seduce. Five stars, and then some.

Runs at the Barbican until 19th April.

REVIEW: Together Forever!

Published on by jaybinghamLeave a comment

Rating: 3.5 out of 5.

A series of very unique explorations of love! 

Suitable for ages 14+.

Together Forever!, written by James Pickthall (they/them) and directed by Yusuf Niazi, comprises a trio of twenty-minute standalone sketches, each showcasing how we may try (and fail) to navigate romantic relationships. Jacob Freda and Heather Campbell-Ferguson portray the characters; each has a sketch of their own, before uniting in the third.  

The premises of both solo sketches are delightfully unique! The first stars John Freda as a man who deals with his breakup five years prior by building a tunnel in the woods, while the second stars Heather Campbell-Ferguson as an alien who has been sent to Earth to study the human race and ends up falling in love with a human. Both actors are charismatic, Campbell-Ferguson smart as a whip and Freda like the funny, frantic friend who always has the best stories to tell. Their energy is infectious – what with how niche the characters and their situations are, it is truly amazing to FEEL every emotion and behaviour of each character.  

The two-hander sketch, while not the most original (both actors star as a couple locked in a room, unable to leave until they have worked things out with each other), is still very entertaining – full of laughs as well as deep moments. Freda and Campbell-Ferguson have great chemistry, comfortable in both the absurd moments (slapping each other with massive foam hands) and the raw moments (revealing their deepest secrets to each other). I will say, I was particularly wowed by Campbell-Ferguson’s microexpressions; she is very attuned to her character’s sensitivities, conveying the most stunningly realistic reactions to Freda’s actions!  

Niazi’s direction, however, could use some improvements. The transitions between scenes can be quite confusing and abrupt. I had no idea the second sketch was over until Freda and Campbell-Ferguson’s entire demeanours had changed to fit these new characters! In addition, the premise of the third sketch can be quite difficult to understand; the lead-up to the couple being locked in the room, I mean, could have been written more clearly. Despite this, Together Forever is still a good story to see being brought to life. 

There are so many stories about the miseries and complexities of love. Together Forever is refreshing – not only does Pickthall explore love from angles previously untouched, but they also articulate these ideas so brilliantly. They are clearly aware that ultimately, the best way to learn about love is to talk about it. Have two people, in some sort of loving relationship, really get to the nitty-gritty of what love means to them. It is societal as well as personal, the unique moments present among all the relatable ones. 

Yes, we want to know about an alien’s experiences with love! Yes, we want to hear about the man who built a tunnel out of post-breakup anger! Pickthall’s creativity is original, and I wish them all the best with this play. 

Kudos to all involved! 

Runs until 19th April at The Bread & Roses Theatre

REVIEW: Tending

Published on by StimpsonLeave a comment

Rating: 5 out of 5.

A beautifully crafted hour of honest and heartfelt storytelling that gently breaks your heart and then puts it back together again.

Set in a stripped back NHS setting with nothing more than three chairs, a blind, and a whole lot of truth, Tending follows three nurses from different departments — palliative care, paediatrics, and A and E — as they share stories drawn from over seventy real life interviews with frontline NHS workers. But this is not a dry documentary. It is alive with warmth, wit, and real voices that deserve to be heard.

Under the thoughtful direction of John Livesey, Tending feels natural, intimate, and deeply connected. Livesey allows the performers to shine while keeping the storytelling grounded and true to its heart. The pacing is perfect, letting the emotional beats land while also giving space for moments of humour to breathe.

Ben Lynn, Anjelica Serra, and El Blackwood are an exceptional trio. Their chemistry is effortless, their storytelling is authentic, and their delivery is full of heart. Whether it is a moment of ridiculous dark humour about smells on the job or a quiet reflection on grief and loss, they carry it all with care. Each performer shines in their own way, but together they create something deeply intimate and grounded.

There is a surprising amount of laughter. Real, belly kind. As well as moments that bring the room to complete stillness. One monologue in particular had the audience holding its breath, and the final few lines left more than a few people wiping their eyes.

The design is refreshingly minimal and that is exactly what makes it work. No distractions, no clutter, just honest storytelling. The lighting and sound gently support the emotional shifts without ever demanding attention. It is all tastefully done.

This show is a love letter to the NHS, yes, but not the overly polished picture perfect version. This is the raw, funny, flawed, deeply human one. It speaks up for the people behind the uniforms and asks the big question. Who looks after the carers when they are the ones falling apart?

Tending is quietly powerful, incredibly moving, and full of soul. A standing ovation kind of show, told with care and courage. If you are lucky enough to catch it, do. You will leave a little more grateful, a little more thoughtful, and a lot more in love with the people who keep the system going.

Tending runs until 4th May at Riverside Studios.

Relish Theatre - Kings Head Theatre

IN CONVERSATION WITH: Ashling O’Shea and Amy Revelle

Published on by Rose-Charles RajLeave a comment

We sat down with Ashling O’Shea and Amy Revelle, members of the cast of Puppy by Naomi Westerman to discuss their experience with this new production. An outrageous, sex-positive new comedy about dogging, porn, and Nick Clegg.

Comedy is a notoriously challenging medium, how do you approach preparation for a comedic piece in comparison with say, a Shakespeare? 

Amy: I just like to read the piece a couple of times and get the gist of the piece alongside the other characters and find where it takes us all. If it’s a comic piece, you can usually tell straight away and just play until you find it. 

Aishling: My process of prep doesn’t actually vary that much between genres if I’m honest. I tend to be a bit of a geek when it comes to a new project so after reading a script I go straight into research – reading, watching, listening to anything I can to help me understand more around the content of the piece as well as things specific to my character. Then, for me, it’s about my instincts and finding ways to let my research inform the choices I make. One thing I love about comedy is there’s so much room to play with initial impulses, especially when you have a cast as phenomenal as this, they’re constantly inspiring me and pushing me to find new things which keeps the humour alive I think.

Ashling, what drew you to playing Jaz in Puppy and what can audiences expect from her? 

Ashling: I was drawn to Jaz because I love playing people on a journey with identity, particularly when it’s nuanced with their own shortcomings or lack of knowledge about something. We’re all discovering more about ourselves, the world around us and the communities we are (and aren’t) a part of, constantly. Jaz is someone who has thought she’s one person for the majority of her life, tying her entire being around one label but her world is opening up now she’s exploring how much more there is to her. Audiences can expect to see Jaz really grow and change throughout the play, while retaining the awkward charm and kindness present from the first moment we meet her. 

How did you prepare yourselves and rehearse the more intimate or physically connected moments of this piece? 

Amy: Well inside the room we worked with the wonderful Christina Fulcher on finding the intimacy and the safe space and comfort that is required to play and feel a connection. Outside of the room we went to the pub after rehearsals for chats and debriefs and learnt about each other as people which naturally made us closer which definitely helped us within the rehearsal room and shows.

Ashling: Before we got into the room and started playing with the text, it was important for me to understand as much of Jaz as I could on my own. I needed to understand how she saw Maya, what she fell in love with, how she sees the relationship. Then we were really fortunate to have an intimacy coordinator who helped us explore some of the physically intimate language between them – shout out Christina Fulcher! We did various exercises in rehearsals but myself and Amy also made an effort to get to know each other outside of the rehearsal room. Once you create a safe and professional way to explore these things in the room, it’s so great to develop a friendship outside of your characters to be able to build that chemistry on stage.

The play blends comedy with political themes. How does this dynamic work on stage? 

Amy: It’s about finding where the comic moments can be and sit nicely without it distracting you from the key themes. Getting the guidance from the director can also be beneficial. Listening to each other and knowing which are the funny moments and which moments need to land and hit a little different. When done well, it’s beautiful. 

Ashling: It works on stage because it’s so true to life! I am someone who firmly believes the personal is political and vice versa. Politics affect every aspect of our lives whether we realise it or not. Using comedy in the face of dangerous political ideology is also a survival tactic. So many people within my communities have always used humour to connect with each other as well a way to make the fight more bearable.

How does Puppy take on the patriarchy and heteronormativity in a fresh, bold way? 

Ashling: I think it flips things on its head in some gorgeously subtle and fun ways, like Susan asking Dave if Sandra got him into matcha (which Richard calls ‘fruity’) to which she responds no, he got her into it, that and pegging. I love this way of using small, seemingly trivial moments to expose how ingrained misogynist stereotypes are in our society. The way this is contrasted with the ‘bigger’ themes like porn restrictions that outlaw the sight of female ejaculation without any mention of male ejaculation speak to the patriarchy and heteronormativity in a way that shows how the micro always impacts the macro. A restriction on the depiction of pleasure that disproportionately affects people with vulvas and queer people speaks to the larger issue of how we see those communities and WHO gets to have bodily autonomy. 

Amy: I think there are moments in the play that just make you think and question what is the “norm” – whatever that means. People can be so shut off from understanding what’s happening in the world or perhaps scared to explore / question etc so having a play that can help you to understand or to feel safer to question whilst also making you laugh, can be a huge help / relief.

How do Jaz and Maya’s activism speak to the current political landscape?

Ashling: I think the way Maya has the best of intentions and all the academic language and research behind her while also really missing the things in front of her say a lot about our political landscape. It says a lot about the limitations of textbook or social media activism, we can read as much as we like, we can try to cover as many areas as possible in things we try to be aware of in this world, but the practice of proactive activism is another ballgame. How often do we share a post without reading the full article, fact checking or finding our own diverse selection of sources? Jaz feels like someone who comes to this play without the in-depth knowledge Maya has on so many topics, but in the practice of setting up the company and being face to face with the performers she learns a lot and becomes a better advocate for those around her, in only the way someone working on the ground can.

What makes Puppy a must-see? 

Ashling: It’s fun and silly! The world is really scary and really tough and it can sometimes be so hard to find joy and hope. It also feels so rare to see Queer joy on stage without trauma. I think it’s also a great place to start conversations, there are so many challenging things that crop up in the play, things that – like in life – don’t come to a compete conclusion or ‘right’ or ‘wrong’ answer. I hope people come away from the play and go chat with their friends and family about things they may not have discussed before. I think Puppy is like an exhale, you may learn some things along the way, but really, you’re going to have fun watching a bunch of silly people do some silly things.

Amy: It raises some important messages and questions. It can help make people feel seen. It is brave and bold and may not be for everyone but it’s exciting and funny and silly and daring with some fantastic actors in it… why would anyone not want to see that ?!  🙂

For more information about the show and tickets, please visit https://kingsheadtheatre.com/whats-on/16/by-naomi-westerman/puppy

REVIEW: Peter James’ Picture You Dead

Published on by Maria Mădălina IfrimLeave a comment

Rating: 3 out of 5.

A chilling tale of obsession and deception on the stage.

This latest theatrical reimagining of a Peter James story plunges into the world of fine art, counterfeit dealings, and the obsessive lengths people will go to in order to complete their prized collections. Crafted for the stage by Shaun McKenna, the narrative pulls the audience into a web of intrigue that twists and turns with increasing frequency as it approaches its climax.

There’s no shortage of surprises, and the production certainly manages to keep you invested as the mystery unfolds. That said, the pacing feels somewhat uneven — tension takes a while to build, and a number of dialogues come across as unnatural or overly expository, which slightly detracts from the realism of the relationships between characters. Some moments feel like they are spelling things out for the audience rather than allowing the plot to develop organically through action and interaction.

A handful of characters verge on caricature. Stuart Piper, the flamboyant and unscrupulous collector, teeters on the edge of parody, while Freya and Harry Kipling, the earnest couple weighed down by debt but guided by principle, sometimes feel a little too idealised. Dave Hegarty, a reformed forger now making a living through legitimate replicas, is one of the more layered figures, emblematic of the blurred boundaries between morality and survival that underpin the story.

Visually and sonically, the production excels. Jason Taylor’s cool-toned lighting casts a fittingly eerie atmosphere throughout, and Max Pappenheim’s sound design lends a cinematic quality to key moments, especially in the second half, when the pace finally begins to pick up and stakes become clearer. These design choices subtly reinforce the story’s underlying sense of unease.

Adrian Linford’s inventive set design deserves praise for its fluid transitions between spaces — an artist’s studio, a modest home, and a lavish country house — all captured with economy and style. However, the scenes set in the police station feel somewhat isolated in tone and staging, missing the seamlessness that ties the rest of the environments together.

Among the cast, Jodie Steele is a clear standout as Roberta, an ambitious art consultant who refuses to let ethics stand in the way of profit. Her performance brims with confidence and cunning, injecting much-needed energy whenever she appears on stage.

While it may not deliver edge-of-your-seat suspense in the way some might hope, the play offers enough intrigue, atmosphere, and strong design to make it a worthwhile evening, particularly for those drawn to tales of ambition, deception, and the murky ethics of art.

REVIEW: Salty Brine: These Are The Contents of My Head

Published on by elspethmaychapmanLeave a comment

Rating: 5 out of 5.

Unmatched talent, Salty Brine transforms storytelling into theatrical gold.

Salty Brine’s ‘These Are The Contents of My Head’ is a showstopping success of cabaret,
effortlessly blending music, memoir, and literature into an unforgettable theatrical
experience. Performed at London’s Soho Theatre, this show is a real testament to Brine’s creative vision and spectacular command of the stage.

Brine’s show weaves together a mix of Annie Lennox’s 1992 album ‘Diva’, Judy Garland’s Carnegie Hall concert, Kate Chopin’s novel ‘The Awakening’ and personal anecdotes. The entire show is tied together in a bow of humour, wit and heart. The careful layering of stories invites the audience to reflect how art, identity and lived experience are connected.

From the get-go Brine’s performance is immersive, his control of the stage and impressive vocals captivates the audience from start to finish. Brine’s multi-faceted talent shines through as he carries the audience through theatrical heartfelt monologues, high camp moments of audience engagement and often nuanced humour.

Ben Langhorst’s musical direction is a standout in ‘These Are The Contents of My Head’. His arrangements breathe life into the familiar tracks, infusing them with fun, fresh energy. Langhorst’s comedic value shines through, particularly in the memorable shower scene where his playful performance adds another layer of humour to the show.

The exploration of strong female characters such as Edna Pontellier, Annie Lennox and
Brine’s own mother adds an alternative feminist outlook into parts of the show. This depth enhances the overall narrative and adds to the thought-provoking and emotionally resonant experience.


In conclusion, ‘These Are The Contents of My Head’ showcases Salty Brine’s exceptional
talent and vision. Through his innovative fusion of cabaret, wit and love for music Brine
captures the audience and locks you in for a fast paced, deeply moving yet entertaining
night.

For those seeking a theatrical experience that challenges the norm and celebrates the power of storytelling, this show is an absolute must-see.

IN CONVERSATION WITH: Cosette Bolt and Matthew Attwood 

Published on by Ke MengLeave a comment

LIVING WITH THE DEAD, written by Cosette Bolt and directed by Matthew Attwood will perform at Augustine United Church, Edinburgh. A Youngish Perspective holds this exclusive dialogue with Cosette and Matthew.

What inspired you to set a story in a mortuary, and what drew you to exploring death from such an intimate, day-to-day perspective?

Cosette(C): This story exists because tragedy exists. I was compelled to write this piece after hearing the staggering number of lives lost as a result of natural disasters, human disasters, and the pandemic. I recognized the normalcy with which people tossed around numbers of dead in the hundreds and thousands but seemed scandalized by smaller scale tragedies. I wanted to set the scenes in a liminal space of life a death to confront the audience with snippets of real lived experiences. It does not matter how these people passed; it matters that they lived in their imperfect and meaningful ways. I found myself tired of glamourizing and eulogizing the dead, and I wrote a piece I needed to see when trying to make sense of grief and loss. You cannot speak of life without death, and it is disingenuous to speak of death without speaking of life. 

The play gives the dead a moment to remember or relive something—was that your way of giving them a voice, or were you also speaking to the living through those memories?

C: I see the scenes as a moment to witness something at the heart of the character. For some reason or another as these characters physically spend their last moments preparing for death, their bodies tell a story for those willing to listen and engage. In this way the dead and the living enter into an exchange of meaning and become more than a number amongst thousands or however many. Our society has sterilized and commodified the grief process to the point that we have forgotten how to engage with loss. By providing a sampling of experiences, even for a moment, the audience is invited into the lives behind the numbers. 

How much of Living with the Dead is about the living, really? 

C: Living with the Dead is all about the living and challenging the traditions that have allowed us to create and perpetuate such distance between ourselves and care for dead. We as humans carry ourselves through this world with however long we are granted and yet are so fearful of what comes next that we have created an empire of death care and whole markets of industry to deny that we are transient beings. Not thinking about our death will not protect us from it. Not thinking about how we leave this world will only perpetuate fear and harm our loved ones in the future when we inevitably pass, ourselves. 

As a playwright, do you feel like we need more honest conversations around death, especially in theatre? How do you balance the heaviness of the subject with something that still feels human and watchable?

C: I believe there is a theatrical duty on the part of every playwright to create stage-worthy shows. Just as in life there is tragedy mixed with the comedy. Life like theatre is never just one thing. I do not think every piece of media needs to serve the purpose of inspiring deep, philosophical discussions around mortality, but I think there is something to be said about a general unease around certain topic in the theatre. In these uncertain times within the industry, people want the sure things-the things that sell. There are those that want to be challenged by what they engage with, and I would encourage writers to continue to write the hard things. Balance is found in writing truthfully. Everything in Living with the Dead is a theatrically packaged, real conversation based in true experiences. It feels human because it is human with a touch of whimsy and a dash of audio-visual tomfoolery. 

Directing a show about death could easily turn very dark or overly sentimental—how did you find the tone for Living with the Dead?

Matthew(M): In a show that could be consumed by darkness, I wanted to explore life and what it means to live. This meant having to find the humour and quirks in the characters and their personal situations that gives us a glimpse into their lives. Everyone has different life experiences and whilst we can’t escape the inevitability of death; and the following grieving process, I’ve made it my mission to ensure that this production is full of colour. I have strived to find the balance of honouring those who have passed as well as highlighting the importance of allowing them to be remembered as the vibrant people they were.

What kind of conversations did you have with the actors about embodying both the living and the dead? Did you want the audience to feel close to these characters or observe them from a distance?

M: I’ve worked collaboratively with Cosette and the cast to give each of the lives explored a sense of personality. In the rehearsal room we have investigated the text and played with use of ensemble, costume, light and sound to allow for world building to see the world through the lens of each character being “processed” in the morgue. The audience are taken on a voyeuristic journey in this production, observing the characters in this morgue setting. But as we get closer to the end, we soon realise how close we’ve been to them all along.

Not So Nice! is about pushing past “polite” theatre—what did “not so nice” mean for you in directing this play? Were there moments where you wanted the audience to sit in discomfort?

M: Absolutely! The “not so nice” element of this production is having to sit in the discomfort of death and grief. Not one person grieves in the same way as another and this production allows the audience to resonate with multiple different characters and life experiences. The heart wrenching moments in the play can be seen as ‘difficult’ for the viewer, however they are integral as they create a dialogue about what it means to remember and be remembered.

As someone working in independent theatre, how do you keep making bold, meaningful work like this while balancing all the pressures of running a company, especially in the current creative climate?

M: The honest answer is that it is tough. It’s a hard graft due to the lack of access to funding which puts pressure on artists to try and find creative solutions to combat the difficulties of making theatre. However, I am of the belief that you can’t stop yourself from living and doing the things you want to achieve because of the barriers people put in front of you. Myself and the whole team at NOT SO NICE! are resilient theatre makers who are driven by our creative ambition and our excitement to collaborate with artists to make meaningful work like ‘Living With The Dead’ and other projects that uplift artists and enables discussion on topics that are “not so nice”.

Tickets and info can be find here: https://www.notsonice.co.uk/event-details/living-with-the-dead-by-cosette-bolt-2025-04-25-19-30

REVIEW: Snow White

Published on by alexnorm14Leave a comment

Rating: 3.5 out of 5.

“So much potential, so little polish.”

BalletLORENT’s Snow White is visually captivating but fails to achieve its full potential. Immersed in this fairytale world, viewers’ bear witness as vanity drives the Queen to unthinkable darkness. Following Snow White into a new life with the local Miners’, this reimagining is charming but lacks maturity in both movement and performance.

Liv Lorent and Carol Ann Duffy’s updated narrative is memorably unnerving while also being inviting and amusing. It leans into the Grimm origins of the story and keeps the audience on its toes. The narrative dialogue is relevant, well-timed, and well-written. There are several very intelligent alterations to the familiar story that make it more palatable to modern viewers. The ending feels rushed and insufficiently thought out,
disappointing given the overall success of the story. Phil Eddolls, Set Designer, is a genius. Eddolls’ set is of the highest calibre being both aesthetically and functionally astounding. Just one set piece brought the Queen’s castle, the dark woods, and the whimsical home of the Miners to life. Malcolm Rippeths’ lighting design brilliantly signified the passage of time, making the eighteen year timeline flow seamlessly. Costume Designer’s Libby El-Alfy and Nasir Mazhar impressed with their simple yet beautiful designs. Their reflective Mirror creation was particularly memorable.

There is a charming, childlike quality to the Snow White choreography with eye catching moments such as the Queen and the Mirror duet. Lorent did excel in choreographing the use of the set and props. Every use of the set was purposeful and added to the story. Unfortunately the movement lacked cohesion and the ensemble work was never clean. Overall, Liv Lorent’s choreography disappointed. There was interesting, if limited, phrase work, notably the King’s death and the Huntsman’s solo.

If I were told that the dancer’s improvised the entire show, I would wholeheartedly believe it. It felt more like pictures strung together than a complete dance theatre piece. The cast of Snow White exuded personality. The ensemble cast was very lively but did suffer some shortcomings in technique and timing. Every dancer had their own distinct style which was lovely but often pushed them out of sync. Virginia Scudeletti delighted as Snow White. Her spritely fluidity and naivete were well-suited to the young princess; her characterization did lack some depth, especially in the second act. Caroline Reece gave a haunting but somewhat flat performance as the Queen. Technically remarkable, she exuded grace but held the same slightly off-kilter expression for the majority of the performance. John Kendall gave a captivating and swoon-worthy performance as the Huntsman. It’s fitting that the shining star of this story be the Mirror. Danced by Aisha Naamani, the Mirror was remarkable in costume, choreography, and quality of movement. Despite not being able to see her face, Naamani’s emotions and intentions were fully visible in all of her movements. A brilliantly designed role danced by a brilliant dancer.

An interesting and well-designed concept that wasn’t executed to the best of its ability. It has a messy, improvised quality that would brilliantly suit a panto but is disconcerting in a piece of this kind. Despite some choreographic and performance pitfalls, BalletLORENT’s Snow White is an enjoyable physical theatre.

REVIEW: Jérôme Bel

Published on by Eoin FentonLeave a comment

Rating: 3.5 out of 5.

The radical choreographer takes a restrained approach with his deeply biographical work.

Jérôme Bel, from the choreographer Jérôme Bel, is a work of ‘autobiochoreograpy’, where the choreographer discusses at length the genesis of his catalogue of works. Bel is noted for his radical and unfrilly approach to dance. He frequently utilises non-dancers, speech, and a matter-of-fact approach to dance. No spectacle, no entertainment, just bodies in space.


For ecological reasons he doesn’t fly for his work — why he decided not to take the Eurostar is not touched on — and prefers to stage pieces virtually. The set is simple and contributed by the theatres in which the work is performed. A local actor reads out the dialogue in the local language, and controls the lighting and projections from a modest setup on a desk. Terry O’Connor inhabits the role of the choreographer for its short run at The Place. Jérôme Bel, through his conduit, lets us know that, owing to the perfomance’s two-hour run time, we are free to leave if we wish. We are forewarned that tonight will have “no theatrical twists, no resolution in the end”. A few do leave, but the rest of us settle in for the evening, ready for the unraveling biography.


It’s a nifty piece of mixed media theatre; part anthropological lecture, part archival screening, part blow-by-blow account from Bel’s diary. O’Connor, as Bel, reads through the creative process of the radical and bold works that would mark Bel’s career, playing snippets from his archive. The documentary-style retrospective is, at first, dry in its delivery, and very detached. However, as we hear more about Bel’s innovations and discoveries, his failures and dead-ends, we become more engaged — the exposition can be very illuminating. For example, while discussing his creation Véronique Doisneau, a piece wherein the titular ballerina from the corps de ballet of the Paris Opera Ballet speaks about her career highlights and lowlights on stage, we hear how Bel wished to enact a mini Marxist rebellion of sorts at the Palais Garnier. When watching the footage we see what he means, Doisneau trudges through mundane choreography for the ensemble, stuck within a hierarchical system. He always seems to have exacting political and philosophical attitudes in relation to his work, very French.


This exacting approach is compelling, but does occasionally veer into over-philosophising. We are privy to all of Bel’s uncertainties, his humming and hawing, his endeavour to be as precise as possible in his work. There is a disconnect, at times, between the grand ideas and the radically simple works of theatre he created. There is also a sense of frustration too. We are repeatedly told of Bel’s fascination with the magic of theatre and its humanising power, but we never truly get to experience it in Jérôme Bel. We watch video after video of works that seem like a lot of fun, but the lack of physical bodies in the space can become sterile. Where the work really resonates is in Bel’s human moments, read in O’Connor’s soothing tones, about relationships, fatherhood, inspiration. If only this lecture came with in-person demonstrations.