Author: violethowson

REVIEW: Chaos

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Rating: 3 out of 5.

A slick, frenetic scratch night blending a bizarre array of stories

Chaos at the Pleasance Theatre is an innovative and slick version of a scratch night. From Long Nights Productions (Jack Medlin, Theo Collins, and Sarah Chamberlain), Chaos consists of nine performances, blended together, in a cabaret-esque setting. It’s certainly ambitious, and it’s unusual, even for a scratch night.

Naturally, given its context as a scratch night, the pieces themselves vary drastically in quality. It’s a little challenging to comment on the overall theatrical experience because each piece is so disparate from the others; the challenge is to shield yourself from the tonal whiplash. And there’s no unifying theme – despite chaos, I suppose – but chaos is not a conceit in and of itself.

The show opens with one woman pouring vodka into a carton of orange juice, before she is harassed by the door, and watches as two women drag in a body bag. Quickly, the stage setup is pushed about, and so begins a piece about a child and an obsessive neighbour (also a child). At some point, a monologue was delivered from the perspective of a vengeful Scottish toilet. Then we were whisked to the peak of a mountain where a bunch of queer youths stood in line for a Berghain-esque club, just with the added peril of being atop a mountain. There was also some attempt at Clown concerning a series of backpacks.

Some of the writing was accomplished: I enjoyed Barney Doran and Anna Fenton-Garvey’s performance and writing as the ruthless non-binary clubbers. And the four women sharing pastries in their hostage situation was a highlight. However, as an overall theatrical event, it struggles to captivate. Without any perceptible binding conceit, it’s a struggle to invest yourself in any of the pieces or gain any sense of pattern recognition. And in the absence of thematic unity, the context of ‘chaos’ loses any architectural meaning.

I would probably argue that not everything is a theatrical opportunity (see: the Scottish toilet – he kills his male philandering owner in a self-righteous fury). There was also an ethically dubious piece about an Italian restaurateur’s Japanese wife who turned out to be a lifeless doll.

The set design (Geneve Chu) is commendable; the transitions are smooth, and the space is imaginatively understood. For a scratch night, it is extremely organised; it’s reassuringly structured. The band (LA Family Trio) is a fun accompaniment, and the lighting (Aaron Molloy) is well deployed. But the pieces themselves – and the organising concept – fail to engage and lack the satisfaction of a more conventional piece of theatre. As a scratch night, of course, the intention is not to create one unified story, but it is a struggle to care about any of the stories or characters within this setup.

FEATURE: Passenger – One for the Road

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To celebrate the West End premiere of THE UNLIKELY PILGRIMAGE OF HAROLD FRY starring Mark Addy, Jenna Russell and Noah Mullins at the Theatre Royal Haymarket, Passenger, who has written the music and lyrics is performed a one-off concert to celebrate the production.

“An intimate evening of Passenger, bursting with warmth and soul”

To celebrate the launch of the musical adaptation of The Unlikely Pilgrimage of Harold Fry in London’s Theatre Haymarket, Passenger gave a one-off concert. This is because he was tasked to write the music for the piece, and not, as I initially thought, because he’s just such a huge fan of the book (though I’m certain he is). 

The Unlikely Pilgrimage of Harold Fry is based on the 2021 book of the same name by Rachel Joyce. A successful 2023 film adaptation followed, starring Penelope Wilton and Jim Broadbent. The musical marks its third iteration. It stars Mark Addy, Jenna Russell, and Noah Mullins. 

And Passenger, of Let Her Go fame, has written the score. So, backed only by Harold’s props, Passenger performed a selection of music from the musical (and Let Her Go, naturally). It turned out the majority of the audience were either pre-existing fans of the musical/film/book or pre-existing Passenger Fans. I was neither. Not out of spite, simply negligence of the two cultural objects. But I left a convert to the Church of Passenger. 

Less so for Harold, who seemed a rather selfish, negligent man. Until he receives a letter from an old friend, Queenie, who is in a hospice dying, with no one to bid her farewell. Through a series of post boxes and chance conversations, Harold ends up walking the length of Devon to Berwick-upon-Tweed, imploring Queenie to stay alive whilst he treks to her. As the title suggests, his journey becomes his own pilgrimage, and he self-actualises with every plod. 

The music was lovely, gentle and fittingly ambulant. The concert was particularly intimate and surprisingly moving, even without former knowledge of the story. At one point, Passenger stepped away from the microphone, and performed a piece unamplified. In a display of even cosier intimacy, everyone leant towards the stage. Such a delightful evening promises greatness for the musical. It runs till the 18th April at the Theatre Royal Haymarket.

REVIEW: The Van Morrison Alumni Band

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Rating: 4 out of 5.

A confident tribute that explores the range of Van Morrison’s music with soul and clarity.

Opening last night at the Emerald Theatre, a venue new to me,  was the Van Morrison Alumni Band: a tribute act to the beloved musician’s greatest hits (I’m aware the word beloved suggests a posthumous tribute but Van Morrison remains alive). Configured in the style of an old jazz club, from its architecture and foyer design to the purple and green tones of the lighting, the theatre has a distinctive atmosphere that feels removed from the everyday.

The evening offers a richly textured sonic experience drawn from Van Morrison’s eclectic catalogue. The band are elite musicians, all of whom have accompanied Morrison at various points throughout his career. Indeed, the professional intimacy of these musicians is such that, between them, they have played with the artist over 3000 times and amassed 600 recording credits with him. This intimacy is evident in their performances: this is not merely another gig for them, but a spiritual musical immersion. And one they share with the audience.

The evening covers a huge range of Van Morrison’s work, from the Healing Game to Days Like This (a standout, naturally). The singers inhabit the music of Morrison uniquely, each bringing their own spin to his work. Hayley Sanderson’s light soprano was gracefully married with Jess Greenfield’s earthy, more grungy vocal aesthetic. Wayne Hernandes was particularly fabulous, his voice rich with the kind of charisma that oozes. Leo Green, leading the orchestral charge, shone with his wonderful saxophone solos.

Everyone gets an opportunity to relish in this world of Van Morrison. From Robin Aspland on the piano to Geoff Dunn on the drums, the band is an electric masterclass in fusing adaptation with personal style.

The aesthetic choices complement the energy of this evening well, from the lighting to the décor, even to the configuration of the artists on the stage. The backing singers, Sophie Hiller and Tess Burrstone, also sparkle, their constant rhythmic bopping enchanting the stage even when they are not singing.

This is a soulful concert that celebrates the great diversity in the music of Van Morrison. The set moves confidently between familiar songs and deeper cuts, creating a strong sense of connection with the audience.

It goes perhaps without saying that to enjoy this evening deeply, you might want some connection or working knowledge with the music of Van Morrison. Having said that, much of his music can advocate for itself. Perhaps then, if you are not intimately familiar with Van Morrison’s repertoire, an evening with his tribute band could be an excellent introduction. 

Find out more details about their residency (and get tickets) here.

FEATURE: THE CIRCLE AND STAR LAUNCH EVENT

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To celebrate his revival launch of the newly reimagined theatre, The Circle and Star, curator and actor Steve Furst hosted a kaleidoscopic cabaret night, featuring his own cabaret alter ego, Lenny Beige. 

The Circle and Star Theatre was formerly the Pentameters Theatre. Located above the Horseshoe pub just a short stroll from Hampstead Underground Station, the Pentameters Theatre was one of London’s first pub theatres. 

This adorable, intimate 60-seater was founded in 1968 and opened in 1972, a venue pioneering poetry, comedy, new writing, and experimental performance. The launch of The Circle and Star Theatre marks an opening season boasting the likes of Matt Lucas, David Walliams, Mel Giedroyc, Jay Rayner…the list goes on considerably. The theatre will also feature monthly residencies hosted by Debs Tammer, David Arnold, and Guy Chambers. With its restoration comes upgraded technology, including the modern facilitates for live performance, streaming and recording. 

A relaxed, tipsy affair, Monday’s launch catapulted into action with cabaret and musical performances. At one point, Steve Furst left the building, only to be replaced by his cabaret character, Lenny Beige: a wisecrack and musician, flip flopping between dad jokes to bangers on the guitar with a chaotic ease. At one point, he performed ‘I’m a Believer’ with his musical producer, with his little, one-eyed Shitzu, Genghis, sat in-between them. A delightful affair. 

As curator Steve Furst has stated: “The Circle & Star Theatre is about bringing people together in a space that’s full of history, warmth and creativity. Hampstead has always been a home for artists and performers, and this is our way of celebrating that spirit for a new generation.”

BY HEART Texte, mise en scene et interpretation Tiago Rodrigues, Texte avec extraits et citations de William Shakespeare, Ray Bradbury, George Steiner et Joseph Brodsky, Traduction Thomas Resendes, Traduction du sonnet de William Shakespeare Francoise Morvan, Scenographie, costumes et accessoires Magda Bizarro.

REVIEW: By Heart

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Rating: 3 out of 5.

a passionate reminder of the artistic and spiritual value of memorisation 

‘By Heart’, devised and delivered by Tiago Rodrigues, is a piece of experimental theatre that invites 10 audience members to partake in a group challenge: to memorise Shakespeare’s Sonnet 30 (the one which begins ‘when to the sessions of sweet, silent thought/I summon up remembrance of things pas’t (I did that from memory 🙂 ).

It’s a cool premise: in a world where memorisation is haemorrhaging value, Rodrigues creates a space in which learning a Shakespearean Sonnet ‘by heart’ is the only requirement…if you want to leave, that is (the piece does become increasingly more hostage-like in its vibe).

Line by line, Rodrigues ushers his victims through Sonnet 30. But diversions are rife, often accompanied with things he has memorised, from George Steiner to Ray Bradbury. Of course, memorised lines is kind of what you’d expect when watching theatre. Not like this though, and when Rodrigus veers off course, the tangent aren’t narratively compelling enough to be justified. 

If this were a workshop, and we were all participants, this would be an engaging exercise. Indeed, I followed along with the memorisation exercise. But once you do lock into the task, the slowness and dawdling energy becomes frustrating. As the piece develops, Rodigues – confusingly – becomes less bothered about the imperative to memorise all fourteen lines. Instead, his subjects have to learn the first four lines, then one line each. Given the whole show rides on the value of memorisation, it’s a bit of a let down not to actually prioritise this. Especially when the show ran over an extra fifteen minutes. To be honest, it doesn’t matter the quality of a show if you are not specific about its duration. I think you owe audience members a reliable time frame for your show, because threatening that ‘this will take as long as it takes’ contravenes the theatrical codes of politeness. And that not knowing can overshadow a show entirely. 

Experimental theatre deserves respect and attention, and the ethos here is highly laudable. Memorisation is a skill and an artefact that ought to be celebrated. We’re drowning in our own brainrot, and memory games are helpful in resisting this. But ‘By Heart’ doesn’t know what to do with its audience, and that was jarring. Because, fundamentally, watching other people memorise things is not very entertaining. I appreciate the endeavour, but it needs some structural reconsiderations for it to be a workable premise. As a final comment, I want to stress that Rodrigues is characterful and charming; the current piece just isn’t sustainable in a theatrical environment. I genuinely applaud his passion and ambition, and I do hope he finds a way for this kind of work could flourish dramatically.

REVIEW: The Importance of Being Earnest

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Rating: 3 out of 5.

A production doused with fun and ostentation

Max Webster’s production of Oscar Wilde’s ‘The Importance of Being Earnest’ is a reiteration of the same version at the National Theatre last year, which starred Ncuti Gatwa and Hugh Skinner. Whilst I don’t relish theatre that hammers away all subtlety in pursuit of overt comedy,  it was an excellent production with an all-round wonderful cast. A hard, but not impossible, act to follow.  

Starring Olly Alexander as Algy and Nathan Stewart-Jarrett as Jack, Webster’s version is a commercialised adaptation of the Victorian play; it exposes all the campness and physical theatre possible to ensure comedy. There is much to be commended here. 

The aesthetic choices are wonderfully garish. And in the costume and the set design (Rae Smith),  this works wonderfully. Wilde has been successfully Bridgerton-ised. The sets are effective in their ostentatiousness, from a lavish living room to a Carroll-esque flowery garden, back to another lavish and phallically inclined living room.  

The women – Jessica Whitehurst as Cecily and Kitty Hawthorne as Gwendolyn – stand out. Their stompiness and sexual voracity endear; it’s interesting that their relationship, above any other, carries the most vibrancy. Webster certainly riffs upon the horniness of every character,  and it’s an engaging choice. I would argue, however, that just because you can give a prop a handjob doesn’t mean you ought to. 

The major problem is that with a Comedy of Manners, especially those of Wilde, almost all of the genius lies in the writing. Provided you understand what it is you are saying, very little is needed for success. The whole text is a verbal sparring match. All the drama and all the battle derives from the language. Thus, it does not matter how much you dress it up if you do not  comprehensively understand what you are saying. It did tend to feel that everything was done except understand the dialogue. And this is a problem. Then Stephen Fry regales us with stillness and wit, and you’re engaged again, proving this point. (Shobna Gulati as Miss Prism and Hugh Dennis as Reverend Chasuble are also a delightful addition, but they have little to do). 

A thesis could be written on the queerness of this play and how it’s translated in this production. Oscar Wilde is objectively quite famous for being gay. His texts are clearly laden with queer subtext and subtle homoeroticism. The problem is that when you eradicate all subtlety from this aspect, you lose some of the wit and queerness that derives from such subtlety. There’s a nuance to the Wildean queerness that demands a more developed understanding to pull off. Whilst an interesting experiment, it cannot simply be plonked into 21st Century conceptualisations of gayness and its expression without investigation.  

All this being said, Webster’s production is doused with fun, the audience are receptive, and there is much to be amused by.

REVIEW: First Night At The Proms

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Rating: 4 out of 5.

A wonderful evening of majesty and the good kind of tradition

The First Night of the BBC Proms was suitably majestic. The room pulsated with respect and anticipation; as the orchestra prepared to strum and string (and all the other things they do), the reverential silence was palpable. 

The first half included a wonderful Violin Concerto in D minor from Jean Sibelius, led by Lisa Batishvili. It was contemplative and utterly compelling with its Nordic gravity. It was preceded by Felix Mendelsshon’s Overture The Hebrides (Fingal’s Cave). This, too, was well chosen and well received. I’m perhaps not the most musically gifted individual and thus can’t adequately comment on the intricacies or technically proficiencies of the music. I can, however, talk about the way in which it stimulated my internal monologue. In a world so saturated with content – especially short-form content – that aims to shock us with a constant stream of dopamine, there was something so moving about being in a space dedicated to long-form musical stimulation. It was meditative and emotionally titillating. I found myself venturing all over my brain, indulging in my imagination and memories with a wonderfully dramatic musical backdrop. 

The start of the second half was the highlight of the evening: a percussion-heavy world premier entitled The Elements by the absolute diva Errolyn Wallen. It even included a passage in which the whole audience were allowed to click along. Unconventional and stirring, it was a wonderful debut, punchy and invigorating. 

One blight: the final and longest piece of the evening, Ralph Vaughan Williams Sancta Civitas,  choral piece, was somewhat disappointing. Following the thrill of the preceding pieces, this choral moment was overly somber, and set an unnecessarily morbid tone for the first night. I am no expert in either the church of the music industry, but there is something rather discomfiting about the performance of a chorale that leans on the ‘Power of the Almighty’ in the English Language – from the Book of Revelations, I believe. I believe that the linguistic distance an Italian or Latin piece produces is imperative for the religiously inclined songs. In noticeable contrast to the instrumental music that came before, there was a palpable dullness to this one. 

This was the one misstep of the night. Despite this, the evening was a wonderful one, and the atmosphere excellent. It’s delightful to see people dressing well for the theatre again; to see people treating music and theatre as a holistic experience, and one that deserves full commitment. It was also delightful to see the lack of phone usage throughout the concert, something that would be inconceivable in many other kinds of concerts.   

REVIEW: Philos and Amica Do Time

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Rating: 4 out of 5.

It’s silly, it’s whimsical, and it’s delightfully camp.

Philos and Amica Do Time, starring Leah Aspden and Nathaniel Jones, is an outrageously silly romp through time following two best friends in pursuit of fame and penises, in equal measure. 

Philos and Amica have always wanted to perform on stage to many an audience, but they seem constantly resigned to scanning tickets and directing wealthy theatre-goers to their seats, before resigning themselves to the foyer as soon as the action begins. Eventually, they decide enough is enough, quit their jobs, and jump to the Middle Ages to pursue their dreams. 

The first quarter of this piece takes place in Ancient Greece, as Philos and Amica usher at the Colosseum. From its name, you may seduce that time travel is a dominant feature of this play. We leap from Ancient Greece to the Middle Ages, to the Regency Period, and eventually, inevitably, to Modern Day. Such time hopping facilitates much spoofiness and hilarity, and modern vernacular infiltrates amusingly. 

Much of the stagecraft and scenery relies on projections onto a screen which functions as a backdrop. They help to visually indicate the time jumps, flipping from a medieval church to a carriage to a barking dog. It’s a deeply campy choice, and the consistent commitment to it makes it work ever so well. Director Glyn Owen is in charge of these projections, only increasingly the delirious silliness of it. 

Both Aspden and Jones are great, and their friendship ever so plausible. One of the greatest strengths of the piece is its witty anachronisms and its use of modern-day culture melded to fit ideas of the time period in which they belong at that point. HMRC is a fixture of almost every age; for example, in the Middle Ages, Amica’s new job is a tax collecter for HMRC’s Sin Tax. Philos accepts tutelage under Lord Byron, who gives him both advice and syphilis (perhaps not that anachronistic); ye old-ified brand names abound (in their multitudes, I can’t recall any, but they were all funny – I guess you’ll just have to go see the show if you want further enlightenment)  

The energy did flag at times, partly due to volume, and the onstage costume changes. Certainly, the deliberately am dram nature of it justified these somewhat. Even so, the energy cultivated on stage is so delicate and precious that even a few seconds of static can damage the vibe. Volume, too, was occasionally an issue. 

 Costumes were a particular source of fun as the obvious indicators of time travel. Philos decked up as a Medieval princess in pink dress and pink hennin was amusing especially in its contrast with Aspden’s tattoos and mullet. There is a delightful chaos throughout all of Philos and Amica Do Time.

Runs at Riverside Studios until 12th July

Photos by Steve Franck Photography

REVIEW: Talking People (23rd June)

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Rating: 5 out of 5.

a wonderful evening that prioritises presence, empathy, and human connection above all else

Talking People at the Bush Theatre is a fairly new innovation: a series of improvised evenings amongst a few actors, and their director, Richard Vincent, who worked side by side with Elina Saleh Franck, the producer, to create this amazing production.

Talking People is a fabulous creation; a genuine antidote to the tsunami of mediocre theatre currently synonymous with our world, in which critical thinking and empathy are on the decline. The set up of is simple. Without spoiling anything, I shall briefly outline it: 

Vincent introduces the three actors for that night, and tells the audience to excuse anything outrageous that may be said that night. People are not perfect. Then he sets up a basic relationship. In this case, Andrea Valls and Kiell Smith-Bynoe are in a relationship – and Giorgia Valentino ends up being their teenage daughter – and actually love each other. Through a series of questions, they create fully formed characters and a web of stories and relationships. Playing cards are also used to determine the intimacy or love in a relationship. Then, Richard hands questions over to the audience. At a natural concluding point, we break. After the interval, the actors improvise a scene between the characters we have just collaborated in creating. 

The evening works wonderfully; it is entirely engaging and completely consuming. Crucially, it holds your attention without strain. In a world capitalising on our attention spans, this is perhaps the biggest achievement in theatre right now. And the reason it works so fantastically is because everyone is present and everyone is participating. For a short period of time, we all exist in the same sphere of focus and time. This makes for an electrically charged room. 

If I had one complaint, and it could only be one, it would be this: sometimes it felt that, for some, the natural inclination was to veer towards trauma. There’s nothing innately wrong with this. But heavier trauma doesn’t equate to a more interesting performance. The piece is interesting because it is so fresh; so spontaneous; and thus, so close to a candid portrayal of life and interpersonal relationships. It doesn’t actually need anything ‘dramatic’ to make it engaging. The evening is brilliant because we witness the very aliveness of people as they connect, play, and affect each other. 

A small matter, and one dependent on the actors. Talking People is such an intelligent and, dare I say, important form of art. For actors and audiences alike, it is also an exercise in empathy: a dwindling art, screaming for attention. 

REVIEW: King of Pangaea at King’s Head Theatre

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Rating: 3 out of 5.

Overall, however, King of Pangaea is slick, ambitious, and sweet; a lovely little musical that deals with loss through child-like innocence and the transcendence of hope. 

King of Pangaea, a new musical from Martin Storrow, is a One Act spritely epic about familial grief, hope, imagination. 

Sam Crow (Alfie Backwell), an ordinary boy, is grieving the loss of his mother. In order to deal with this, he travels to Pangaea, a practically uninhabited island of his own imaginative creation in search of a metaphysical puzzle piece. 

Along the way, he encounters a variety of mystical, swashbuckling types, beautifully clad in colourful garments (a wonderful Carly Brownbridge). The narrative itself evades clarity somewhat, but this shall suffice. 

Whilst it isn’t packed with musical bangers, the cast are wonderful, all with angelic voices. in his professional debut, Blackwell is charismatic and adorable, easily holding his own. HIs voice, above all else, is gorgeous. 

There is perhaps something a little oxymoronic about a one act musical in that it slightly undermines its grandeur. but King of Pangaea is pacy and holds attention – no mean feat in this attention deficit economy. 

The story and energy of the piece is sweet, with a palpable heart. it is perhaps a little too earnest, a little too saccharine for british sensibility. but tomato, tomato; potato, potato. 

Kudos must be handed to the set design (also Brownbridge). Inventive, with a vibe of child-like wonder, the set itself plays a large role in the success of the show. 

The cast are strong, and competent. Dan Burton as Sam’s father and sometimes-pirate is particularly engaging, and Emily Tang eminently watchable. Mark Curry as an immortal Prophet Elijah is charming, and Sophia Ragavelas as Sam’s mother, Celia, underscores much of the emotion. They are all slightly hampered by a script lacking in nuance, and a plot that squeezes in everything without definition. Narratively, it was slightly incoherent, and in its ambition loses sight of its core explorations. It may have benefited from a whittling of narrative plot points to focus more on the interpersonal familial relationships and how loss and grief are felt and communicated by all involved.