Filippos Apostolos Karakonstantinos

REVIEW: Sleeping Beauty

Published on December 31, 2023December 31, 2023 by Filippos Apostolos KarakonstantinosLeave a comment

A retelling of Sleeping Beauty, full of humour and naughtiness, celebrating queerness and pop culture

Created by Miss Moppe and directed by Chris Clegg, this all-star drag pantomime at the Harold Pinter Theatre will bring you to laughs through the retelling of Sleeping Beauty. This is not a typical retelling though, as brought to the stage by TuckShop, this Sleeping Beauty is more of a celebration of queer culture as well as pop culture.

Four contestants from the UK series of RuPaul’s Drag Race star in this show. Victoria Scone (as Carabosse), Kate Butch (as Queen Camilla), Michael Marouli (as Fairy Fabulous), and Kitty Scott Claus (as Princess Beauty), all command the stage with ease, while managing to build up a very vibrant engagement with the audience.

The plot is fairly similar to the classic fairytale. The princess gets cursed when at the cradle by her evil fairy aunt to fall into a long sleep once turning 16 years old. This would occur by pricking her finger. However, Miss Moppe adds an interesting twist to the plot. The prince is not unknown to Princess Beauty. Rather he is her gender-fluid childhood friend and step-sibling. More interestingly, the evil aunt fairy wants to marry him and kidnaps him so he will not rescue Sleeping Beauty. As this suggests, the show promises some really comical scenes that will keep the audience to the verge of bursting at any time into laughs.

The set is simple, while giving a dreamy vibe with the castle-like scenery. Visual gags and various sing-a-long dance routines are complemented with various lights, sparkling costumes, gas inducing machines, and various sex-play related objects that complement the LGBTQIA+ centred play. Interestingly, even though having a central plot, the actors are given freedom to improvise and to build on their jokes. All jokes are extremely well measured and improvisation occurs to the greatest capacity. Examples are the jokes related to Grindr, popular London clubs, and various sex positions. However, characters like Ophelia Love (as an Ensemble Member) and Kemah Bob (as Handsome) take away a bit from the plot’s flow, but nevertheless they complement the show; Ophelia Love as craving for recognition and stardom and Kamah Bob as being the naughty and constantly sexual driven character of the show.

This is a show where 90% of the jokes land. Some parts could have been a bit naughtier and the character of LoUis CYfer (as King Clyde) could had been elaborated more. Nevertheless, this is a pantomime that is undoubtedly fun and will make you giggle!

REVIEW: The Devil’s Passion

Published on November 3, 2023November 3, 2023 by Filippos Apostolos KarakonstantinosLeave a comment

An intricate script brought to life by multidimensional performances

The Devil’s Passion, written and performed by Justin Butcher, showing at The Playground Theatre, innovatively challenges the traditional way in which the story of Jesus is told.

The staging was simple, with prominent colours of black and red, and a projector that provided an image of a landscape. Even though lacking props, the stage served its purpose of looking like a warlike modern zone.

Justin Butcher appeared in a suit at a podium, giving a speech. His speech was addressed to other nations as if at an Assembly of the United Nations. Interestingly, his speech drew a lot of references to Tony Blair, but mostly to Bush’s address on America’s war on terror. What was very intriguing was that Jesus was portrayed as a terrorist and the main culprit of the conflict in the Middle East. From that point I knew that The Devil’s Passion would be an intriguing play. Justin Butcher kept on affirming Jesus’ extremist ideology, while his followers being seen as perpetrators with a fanatic ideology, who needed to be defeated. This opening of the play reaffirms the reality of how politics works. It also provides satirical nuances to the rather dramatic counterterrorism operation that the opening ponders on.

The Devil’s Passion also serves as an educative play; it is about the lyrical storytelling of the Bible. Justin Butcher does a brilliant role in guiding the audience through the trajectory of Jesus’ birth till his Crucification. At points it is difficult to follow the timeframe of the play, as there is a fast-paced action. Nevertheless, when focusing on certain topics like The Healing of the Bleeding Woman, Zacchaeus, or Juda’s betrayal, one can feel the emotional tension on the stage. This tension is further intensified through the usage of biblical citations like “Your faith has made you whole” or “ I am in you and you are in me “.

The script is very strong and well elaborated as it provides a clear image of the characters and of the historical context of that time. One can close their eyes and imagine the Roman Occupation, the oppression, the division of poor and rich civilians, all under the beautiful landscape of Jerusalem and the Middle Eastern land.

Justin Butcher deserves all the accolades for 90 minute long, breathtaking performance. There are not a lot of actors who can play multi-dimensional roles and switch between characters so fluently. Justin Butcher managed to play Jesus, Judas, the Devil and many more characters, including animals like Pigs and Eagles, with real artistry. He managed to pull off a range of intricate emotions and stay loyal to the personality traits and emotional standing of all roles played. Even Mary’s conception of Jesus and Judas’s inner torment are acted with great precision and clarity. I would never think that I could watch a whole play with just an actor and be so enchanted by his acting.

Even though it’s brilliant script, the ending felt a bit too rushed. Lots of sequences of events were quickly recited while some were too detailed. An example to the former is the Gethsemane and of the latter the Cleansing of the Temple parts of the plot.

The Devil’s Passion is a play that proves that even Biblical gospels can be told and acted in a modern and clear way. This has been achieved by drawing a link to the past and the present. A highly enjoyable play worth seeing that will challenge your understanding of modern politics through a religious lens.

REVIEW: Sputnik Sweetheart

Published on October 31, 2023 by Filippos Apostolos KarakonstantinosLeave a comment

Haruki Murakami’s masterpiece is brought to life and we are taken on a journey, discovering what it means to be human

Sputnik Sweetheart by Haruki Murakami, adapted by Bryony Lavery and directed by Melly Still, is played at the Arcola Theatre. We witness the story of Sumire, a young Japanese writer as she engages in a journey of self-exploration. This journey is one of understanding the intricacies of the world we are living in and of how someone can be guided or changed by them. Love was explored through the relationships of Shumire, K, and Mui, whilst under Murakami’s magical realism.

The staging manages to provide a solid foundation for the flashbacks of Sumire’s life; it is black, minimalistic with modern geometric shapes. The interesting part is the countdown numbering of 96:12 that serves to provide the timeframe up until Sumire’s disappearance at the Greek island of Rhodes. Interestingly, the phone cubicle on the stage has a central function. It serves as a medium of duality; as a phone cubicle that Sumire calls her friend K, but also as the door/mirror of the other self that each of us has. The minimalistic staging is made more interesting through the use of videos on the walls alongside music that plays in the background.

Millicent Wong (Sumire) , Naruto Komatsu (K) and Natsumi Kuroda (Miu) among other talented actors gave exceptional performances. They were performing so close to the audience, really making you feel part of the fourth wall. Throughout the play I felt connected to the cast, especially during the joint choreography of Miu and Sumire that explored their feelings about each other. At points during the play, the fourth wall was broken down by the actors ,to either express their thoughts or their emotional and ideological struggles. An impressive balance was maintained between the aside techniques, the breaking of the fourth wall, and the various flashbacks..

I feel that it would be a pity to spoil the plot and to provide lots of details on the action. The reason behind it is that the play is an opportunity for each member of the audience to embark on an explorative journey together with the cast. Hence, together with the main characters of the play, the audience can ponder on the meaning of life and of societal belonging. This journey will see them travelling across the world, namely Japan, Italy, Switzerland, and Greece. The audience will not only explore the cultural aspects of the aforementioned countries, but also have an accurate audiovisual representation of them.

Another aspect worth mentioning is the wide array of themes that are put forward. Indeed, Haruki Murakami chooses to include the topics of conformity, metaphysics, the nature of knowledge and of love. Both Melly Still and Bryony Levory did exceptional work in the adaptation and direction of the play. Of particular interest to me was the metaphor of change, namely of adjusting a gear in the car. Another idea that stimulated me was that of “who the real me is”. As a Greek and Romanian having studied in the UK and worked in various countries, the play managed to challenge my understanding of my perceived identity.

Even though the play has lot of sexual descriptions and visuals as it touches on the points of sexual orientation and desire, it never became vulgar. Millicent Wong, Natsumi Kuroda, and Naruto Komatsu with natural charisma act without being extreme. They manage to make the audience feel comfortable and even laugh at points. Particularly at the mention of cucumbers in the fridge. I found astonishing Natsumi’s Kuroda’s acting regarding Miu’s sexual assault when she was just 25; the actress masterfully manages to be emotionally charged, but also untouched as being the observer of her own suffering.

Overall, Sputnik Sweetheart is a play that engages all of the audience’s senses through various audio-visual means. This production manages to successfully bring to life Haruki Murakami’s work with simplicity and real artistry, which is not an easy task to accomplish. If you want to challenge your thoughts and existence this play is a must; for 80 minutes leaving reality for the world of dreams where everything is possible.

REVIEW: We are Monsters X Glass

Published on October 29, 2023October 29, 2023 by Filippos Apostolos KarakonstantinosLeave a comment

Majestic acting engulfed into a dramatic and highly intensive atmosphere with subtle nuances of comedy and satire

The two new plays by Joseph Ryan Hughes and Connor McCrory are connected through the themes of murder. On the small stage with minimal set pieces and props, the cast manages to exhibit a wide range of emotions ranging from joy and happiness to fear and desperation. The first play, “We Are Monsters”, gives life to myths and legends all under the umbrella of Halloween and of pop culture, where the victim becomes the perpetrator and vice versa. The second play, “Glass”, portrays heavy emotions tied to Panic Disorder. This is undertaken by showcasing the effects of emotional manipulation that can trigger distress.

The first play follows the pranks and the adventures of a brother and sister that scare campers and then steal their items. Laura Mugford as Caitlyn and Joseph Ruan-Hughes as Kyle manage to enchant the audience with their acting that keeps you on the edge as to what will happen next. Throughout the whole play there is a whirlwind of metaphors and pop culture references, as in the case of Heinz and Aldi beans, that serve to add hilarious elements to the rather dramatic plot. The plot starts smoothly and reaches its apex in different stages whenever Wesley (played by Moses Alexander), the ghost-whisperer joins in. The play has very interesting scenes like the drowning ones and the clever discussions during when Wesley confuses Caitlyn and Joseph as supernatural beings. A really positive element is the plot twist at the end, where all the actors manage to play with the right amount of emotional tension.

The second play, Glass, is emotionally heavy as it looks on Brody’s suffering from the condition of Panic Disorder. Brody, as played by Connor McCrory, manages to show a range of emotional battles within his own mind and his understanding of the world around him. This all occurs during a mysterious call. The stranger calls him from the train opposite the window of his office that has broken down. A witty twist to the play occurs when the stranger claims to have a bomb in his suitcase able to destroy Brody’s office and the train with it. Ideas of manipulation, ignorance of someone’s needs and demons faced are brought up. This sword dancing conversation between Brody and the stranger has a lot of power-balance shifts. Masterfully, as the name of the play denotes, “Glass”, showcases the fragility of someone’s self. The play manages to drive and guide the audience through that notion as Connor McCrory experiencing himself Panic Disorder, acts in a very natural and non-exaggerated way. The conversation with the stranger represents society looking down on and mocking those suffering from mental health issues. In Brody’s case, the stranger does not only emotionally challenge him, but also has the indirect power over his own life, those in his office, and the people on the train. This play manages to intrigue and challenge the audience. Nevertheless, the writing of the play at some points goes into so much detail that it is difficult to follow, while some monologues are rather static and tiresome.

Both plays are an ode to showing the fragility of one’s own self and of who we really are. The audience gets to embark on an interesting journey through dramatic and satirical twists as both plays unfold. Both plays are worth watching if you are looking for dramatic tension with hints of comedy.

REVIEW: Trompe L’Oeil

Published on October 1, 2023October 1, 2023 by Filippos Apostolos KarakonstantinosLeave a comment

Hilariously satirical, camp, and queerfully entertaining

Henry Parkman Biggs’ art piece is brought into life by Blair Anderson and Preston Jones at The Other Palace, where the audience gets to enjoy an amalgam of political satire, cabaret, musical queer theatre, and a viewpoint into human relationships and the intricacies of them. The play is a satire centred around the Trump administration while touching on issues of corruption, suppression, lgbtq rights, democracy and that unity and togetherness can win against any evil.

The action of the play follows the rise and fall of Trump, who is portrayed as a villain from start till finish through humorous and highly satirical means. The play tries to recreate a satirical atmosphere as trompe-l’oeil in a literal means denotes an artistic jargon for creating optical illusions through forced perspective. This was achieved to some extent through the staging and choreography around the Escherian Stairwell and Magritte’s apples, which were continuously reaffirmed throughout the play and the choreography. What was difficult to perceive was the elucidation to Dali’s melting clocks, which was an aspect that was not well elaborated on. Nevertheless, the play managed masterfully to touch base on various societal and political aspects that indeed had a political and societal impact during Trump’s office. The American Dream, the statue of liberty as having a voice and crumbling down, the incessant animosity between Liberals and Democrats keeping people apart, Russia’s and Putin’s role and input in internal and world politics, were some of the many issues that were put forward in an illusionary and pun intended manner with carefully and intricately crafted songs. This masterfully created a playful atmosphere with a mix of different genres from music and pop culture ranging from classical, to Taylor Swift, and cabaret-like. Even though highly entertaining and unique, at points it was difficult to follow the plot through the songs as lots of deciphering and apex was at times not leaving room for a rest of the mind; the performers were giving their full energy and satirical and comical character on stage.

The exceptional cast of Emer Dineen (Trump), Alex Wadham (RIP), Craig Bartley (Lafitte), Dominic Booth (Demi) and more provided widespread laughs and comical tears throughout the play. They highly interacted with the audience, and did not abstain from commenting and involving the audience as part of the play, which gave a very energetic and immersive nuance to the play. Trump as a villain was constructed and played so meticulously that even his gestures, movements, and facial expressions resembled so much reality. I really found entertaining the fact that Twitter’s usage by Trump and his action of firing and keeping those around him just for the sake of it and pleasing his ego was so nicely spread out through the whole play. The play really is an absurd portrayal of Trump’s audacious demands and unbreakable ego that does not hold any boundaries or restraints. Yet the play reinforces the notion of karma and of communal relief and unity when he is over from power.

This is an amazing show dominated by the actor’s performances, songs, and dances, but not as a plot where it revolves only around Trump being a true spoilt, egoistical, and irrational tyrant catering to his own whims, likes, and family profits. The gay love story of the republican and liberal lovers, gives an elaborate understanding of the characteristics of votes for the respective parties, while providing hope that mutual understanding and acceptance of beliefs and what is truly good conquers evil. Overall a lovely play that will make you cry from laughter not for its plot or its staging, but for the marvellous cast, music and acting it promotes.