Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts

Thursday 22 March 2018

Misty, Bush Theatre | Review


Misty
Bush Theatre
Reviewed on Wednesday 21st March 2018 by Shaun Dicks
★★★★★

Arinzé Kene is a star on the rise. Playwright and Actor, he has endless noteworthy credits. Tonight’s viewing is Misty, written by and starring Kene. Misty is a show of two stories; the first being a story of a young man, travelling on the night bus in London, who makes a bad decision before unravelling. We follow him as events unfold. The second story is led not by a character but Kene the person. It follows his process of creating this show and all the negativity and hardship that he faced while doing it. 

Firstly, Kene as a writer is outstanding. The script is fantastically interwoven with its dual narrative; the structuring and execution is positively breath-taking. This script is a masterpiece and a masterclass in how to create an effective, powerful and colourful script. Kene has found the right balance of intense, thought provoking and politically/racially charged material and mixing it with great wit and humour. There is an elegance in the script that is rare, the imagery is so vivid and clear- it is beautiful. 



Kene as a performer is enthralling and captivating. He is a scintillating storyteller, with a presence second to none. Underscored by brilliant music, everything he delivered was real, honest and intense. The performance was outstanding, creating a very stirring and thought-provoking show. Everything is so well rounded, so complete, and incorporates multiple storytelling devices so effectively, that it becomes a show that needs to be seen, heard and enjoyed by everyone and anyone. 

It is a show that needs recognition from the higher ups in awards. It needs thrusting in front of decision makers in Parliament. It is a show that legitimises itself and gives visibility to unrepresented issues. 



I have been watching theatre for eleven years, appreciating for the last five. This show is in my top three, of greatest shows I have ever seen. It is excellence and I cannot be happier or feel more privileged to have experienced it. 

It is theatrical perfection. Go see it, tell everyone about it. Tweet it, Facebook it, Instagram it, Tumblr it, Snapchat it. Make sure that this masterpiece is seen and heard. Give it the visibility that it deserves. Kene is a genius, plain and simple. 

Misty runs at the Bush Theatre until April 21st.

Read Shaun's other reviews here.

photo credit: Helen Murray


Misty, Bush Theatre | Review

Thursday 22 March 2018

Thursday 22 February 2018

Jubilee, Lyric Hammersmith | Review


Jubilee 
Lyric Hammersmith 
Reviewed on Wednesday 21st February 2018 by Shaun Dicks
★★★★

Real but unreal. Fearless, provocative and unapologetic. These are the words I choose to describe the Royal Exchange Theatre transfer of Jubilee. In the world of theatre where everything is imitation, this was stone cold reality. This show is a story of gender and sexual fluidity, the punk movement and the state of society. This story follows a group of punk, free spirits led by Travis Alabanza as Amyl Nitrate; it follows them as they tackle social and political issues like race, gender, sexuality and politics. 

Chris Goode’s script that was adapted from Derek Jarman and James Whaley’s original screenplay is well crafted. The dialogue between characters was realistic and the multiple monologues were insightful, passionate and is fuelled by a generation’s angst. The delivery of this powerful script was paramount, and this energetic cast rose to the occasion. There was no particular weak link in this young cast, but Amyl Nitrate portrayed by Travis Alabanza was the stand out. This didn’t feel like a character but an extension of Alabanza; there was a passion in the way they spoke that made it real. The words didn’t feel scripted for them, it was like a protest on the streets.


Despite all the shows positives, the one downside was that with the anarchic style that is synonymous with the punk movement, there was a few sloppy moments within the show that hurt the pacing a little bit. 

What I truly loved about this show, and is a major selling point for it, is the Political Incorrectness. The willingness to say things that others – in a world of political correctness and censorship – wouldn’t say, was bold. The breaking down of British history, full frontal nudity and extreme opinions was refreshing. It was sex and anarchy at its finest. The world would be a better place if we had the room to express like Jubilee did. The honesty and severity of this piece is its crowning glory. I highly recommend Jubilee.

Jubilee runs at the Lyric Hammersmith until March 10th 2018. 

Photo credit: Johan Persson

Jubilee, Lyric Hammersmith | Review

Thursday 22 February 2018

Saturday 6 January 2018

Hanna, Arcola Theatre | Review


Hanna
Arcola Theatre
Reviewed on Friday 5th January 2018 by Shaun Dicks 
★★★★

‘If I could go back in time, would I make it not happen? And I always shrug and give the same answer: Ah – Coulda, Woulda, Shoulda.’

These are the musings of Hanna, a young single mother, her life has been turned upside down. She has been told that her daughter isn’t her daughter. This is a story that tackles the idea of family. In this modern day the term ‘family’ is broader than it ever has been before. This story takes on the idea of, if you raise a child all their life but they truly aren’t your biological child, does that still make them family?

Hanna written by Sam Potter is a true modern text; its witty, dramatic, humorous and surprising. The script is well written, it intertwines the humour of the young millennial single mother, with the drama of the situation and ends in a surprising way. The direction by George Turvey is simple but effective, the staging is very minimal and leans towards more Stanislavski and his methods but the way the text is carried is very Brechtian in regard to its use of audience interaction.


Sophie Khan Levy as Hanna was humorous and endearing. She was able to create a very well rounded and thought out character in her interpretation of Hanna. She portrayed an immature maturity flawlessly; Hanna was a fully realised woman, there were no flaws in her character work. The text, despite a few stumbles, was very well paced. Levy makes you feel for Hanna, she creates an empathy for Hanna and makes the audience want to follow her story. She takes you all the way to the peak of the rollercoaster before letting you drop.


This show is raw, unrelenting and honest. Its a show that you should see. It tackles red hot issues that affect people on a regular basis and very much needs discussing more. Catch Hanna if you can, you’ll be better off for seeing it.

Hanna runs at the Arcola theatre until January 20th 2018

photo credit: Robert Workman

Hanna, Arcola Theatre | Review

Saturday 6 January 2018

Tuesday 12 December 2017

Jayde Adams is Jayded, Soho Theatre | Review



Jayde Adams is Jayded

Soho Theatre
Reviewed on Monday 11th December 2017 by Shaun Dicks
★★★★★

Open on the West End, Soho Theatre. A hotbed of theatre and comedic excellence. We find ourselves in the Downstairs space, the set up is of a comedy club. The bar, a scattering of tables and chairs, and an elevated stage that’s dressed with a park bench and a piano. We are welcomed with music from Musical Theatre and Pop Culture. As I wrote before the show, we are in for a hell of a night.

A hell of a night was had by all. Jayde Adams is a beautifully voluptuous woman who takes us on a journey full of laughs. She takes us through a wonderfully crafted set all about popularity and success. Through various devices like mime, song, best friend tests and audience interaction Adams made me cry laughing. Her timing was so perfect, so on point that despite a few word stumbles, everything landed. 

One of the highlights of the show was Adams use of song, her original songs were Tim Minchin esque and her not so original songs were executed perfectly. The musical aspect of the show was truly satisfying. Another highlight was Adams’ use of the best friend test. This involved using a member of the audience, which by nature is a tricky thing, but Adams navigated it perfectly. This writer was buying what she was selling when Adams broke out the wigs and fan, giving the audience a Beyoncé moment that we will never forget. She was willing to improvise and play with the audience as the show went along. She had the audience in the palm of her hands. 

As Adams said during the show, she smashed it. Adams reminded me of my Aunt, with her warm Bristolian accent shewas crass, boisterous and unapologetic in the best way. It is a show that deserves to be seen, it’ll be the best decision you’ve ever made. You will cry with laughter. A sprinkle of happiness in the holiday season.

Jayde Adams is Jayded, Soho Theatre | Review

Tuesday 12 December 2017

Saturday 9 December 2017

Callisto: A Queer Epic, Arcola Theatre | Review


Callisto: A Queer Epic
Arcola Theatre
Reviewed on Friday 8th December 2017 by Shaun Dicks 
★★★★

“To be patient is to suffer.”

Arcola Theatre. London’s East End. Four stories all about a community that knows suffering all too well. The LGBT community. The theatre is bare – no props or furniture set – just the harsh concrete floor and the bare brick walls. We are set in the thrust and are welcomed by edgy, East End music. The music and lights drop, the show begins.

The show follows four different LGBT stories all in different time periods. They have their own narratives and different characters but they all fall on to two similar topics; suffering and love. The script of this show is a gem. Hal Coase has created a rich and full script that is a wonder to see being brought to life by the actors. There was a richness to the dialogue that was natural but moving. Credit should also be given to director Thomas Bailey, the way that the show moves - scene to scene, time period to time period - was well executed for the most part.


However, there are two downfalls to this show. The first, is the story set in space; these scenes were basic, under rehearsed and ultimately lacklustre. It felt like this story had been given less time and care in its rehearsals. It’s one saving grace was Cal (Nicholas Finerty), this character was endearing, innocent and charming. Unfortunately, the second downfall of this show – excluding the character Cal – was the performance of the male cast. The men within the show were one-dimensional, simple and lacking any type of edge. There was so much to work with story wise, it was disappointing that the men didn’t capitalise.

Thankfully for this show and its audience, the women of this show, stole it. These women created well rounded, fully realised characters. They made us feel, laugh and gasp. Whether it was a cheesy 70’s porn scene, locked up in a tower or in the comfort of home; the scenes were intriguing, captivating and hilarious. The woman who really stole the show for me was Phoebe Hames (Isobel, Nurse, Aunty), her performance was simply outstanding. Hames’ comedic timing was something to be savoured and enjoyed. 



The script is scintillating, the direction is clever and the acting on the female side is exquisite. If that were replicated by the other half of the cast, we would have one hell of a show on our hands. In its current form the show is good, and is well worth a watch. The stories deserve to be heard and there are some performances that needs to be seen. 

Callisto runs at the Arcola Theatre until December 23rd

Photo credit: Lidia Crisafulli

Callisto: A Queer Epic, Arcola Theatre | Review

Saturday 9 December 2017

Friday 8 December 2017

Sinners Club, Soho Theatre | Review


Sinners Club
Soho Theatre
Reviewed on Thursday 7th December 2017 by Shaun Dicks 
★★★★

The Soho Theatre invites you to the Sinners Club. We find ourselves in the Upstairs space of this buzzing theatre in the heart of London’s West End. As we walk in we are welcomed by a room set in the round, decorated as an old school recording studio; many an old-fashioned rug, musical instruments and microphones, soundproofing on the wall as well as a few photographs. Scattered around the studio space are members of the band playing light Jazz music to set the mood. 

The concept of the album is simple, its based on the story of the last woman to be hanged in the UK. The original songs written and performed by Lucy Rivers and the band The Bad Mothers- tailored around the story of Ruth Ellis- are an eclectic mix of genres that seem to pulsate through Rivers as they affect her own character narrative as well as the albums. As Rivers enters to start the show, she is this fierce woman in black, taking control of the room. Rivers throughout the show is energetic and intriguing as she goes through the narrative of the concept album. 

However, one of her flaws was her reliance on the audience and audience interaction. The reliance on an audience is a double-edged sword dependant on the audience itself, it can be a struggle for an audience to lose inhibitions and join in. Rivers needs to pick her moments and judge the moments when she does or doesn’t interact. Another thing that needs altering within the show is the amount of dead air in-between songs. As a performer myself I appreciate the device of silence but when its long periods, it becomes a period of time for the audience to wander. 


Despite these flaws of the show, the music really made it- in a world of music made by computers in the mainstream and the jazz hands of the West End - this was a refreshing use of alternative types of music. The whole band was slick, and looked like they were having fun throughout the show. Rivers’ voice soared throughout, despite her over use of falsetto. What truly impressed this writer though was the musicianship packed within the show. The sheer volume of different instruments used was brilliant and to a very high quality. I personally appreciate musicians and musicianship, having worked with a few myself, so to have a live band and for it perform so well, it really brought a smile to my face. 

If you’re looking for something a little different, take up your invitation for the Sinners Club, because despite its flaws, there are many a good aspect of this show to enjoy. This show is the palate cleanser that the West End is craving. Try something different and enjoy a night of music that you will not forget in a hurry.

Sinners Club runs at the Soho Theatre until December 30th

photo credit: Kieran Cudlip

Sinners Club, Soho Theatre | Review

Friday 8 December 2017

Tuesday 5 December 2017

Parliament Square, Bush Theatre | Review



Parliament Square
Bush Theatre 
Reviewed on Monday 4th December 2017 by Shaun Dicks
★★★★★

“We get a little happiness and then we die."

The Bush Theatre, a highly respected and popular Off-West End theatre in buzzing Shephard’s Bush, is currently home to a show that’s origins take it back North to the Royal Exchange Theatre in Manchester. The Bush Theatre itself as a building looks very new and stylish; when you walk into the main performance space that theme continues. The stage is set in the round, dressed very simply but elegantly with household items. As you walk in there is serious, almost ominous music playing, setting the tone for the rest of the show. 

It’s a common theme for shows from the Royal Exchange to be outstanding and Parliament Square is no different. From beginning to end this show is strong, slick and packs a powerful punch. The show sizzles as it moves from scene to scene. Cleverly using lighting, staging and sound for the piece to reach all nooks of the space and keeping every audience member gripped as the show builds towards it’s climax. The use of micro or flash scenes aides the narrative as it means that we're not bogged down with any filler scenes, this script is a triumph for James Fritz, a true masterclass on how to write an impactful script in an age where not all new work is as tight as this. 

However, it is not just the script that is outstanding here, the cast are a group of individuals brimming with talent and confidence. The supporting cast was a highlight- so fluid in their use of the staging and the way they bring James Fritz’s piece to life. They are unapologetic in what they're presenting, and they make this show tragically beautiful. It's a frank and realistic representation of the world today, a true protest piece.


Joanne Howarth (Mum) and Kelly Hotten (Physio/Colleague/Ticket Woman/Friend) are particularly outstanding as the comic relief aspect of a show that is covered and littered in seriousness and real-life truths. What is interesting is Damola Adelaja (Tommy) and his pitching of the character. In a world riddled with hyper masculine characters, Tommy is presented as this sensitive and caring man- a refreshing take on the modern-day male. 

As we fall into Panto Land season I find some people forget that London is still brimming with brilliant theatre. Parliament Square is part of that. This protest drama is a pivotal piece of theatre that needs to be seen by all, and needs to be taken to the West End. The show is powerful, influential and relevant. It is a show not to be missed and you have until the 6th January to catch it before its gone. In this day and age, we all need something to believe in. This show emphasises this more than ever. A masterpiece.

photo credit: Richard Davenport

Parliament Square, Bush Theatre | Review

Tuesday 5 December 2017

Wednesday 8 November 2017

Cilla (UK Tour), New Wimbledon Theatre | Review


Cilla (UK Tour)
New Wimbledon Theatre 
Reviewed on Tuesday 7th November 2017 by Olivia Mitchell 
★★★★★

I have to admit, unlike many, I didn't grow up with Cilla Black. I knew a few of her hit songs but until an hour before seeing the show, had never seen an episode of Blind Dates so despite having heard good things, I was a little dubious as to whether this would be the show for me. I'm pleased to report that my doubts were uncalled for, as the show is spectacular. 

This new production chronicles the Merseyside National Treasure's rise to fame accompanied by the hits of not only Cilla herself, but the other bands of the time. This is a unique take on the jukebox formula which instantly won over the audience of older people reliving the hits they grew up with and the younger generations alike. 

Whilst many jukebox musicals are an excuse to perform hit songs with little storytelling, Cilla has Jeff Pope's stellar book to accompany it. This allows us to become invested in the show and performances rather than just waiting for the next song. With moments of drama, light and shade, there's really something for everyone and the show provides a well rounded theatrical experience with a depth not often seen in jukebox musicals. 


As the lead, Kara Lily Hayworth becomes the Liverpool lady and heart of the show in a faultless performance from start to finish. Expertly embodying Cilla's iconic speaking voice as well as her vocally tough songs, Kara becomes Cilla and has the audience wrapped around her finger from start to finish. Her performance of the demanding role is certainly a memorable one and I can't commend her more highly for her stunning portrayal.

The Beatles and their manager Brian Epstein (Andrew Lancel) feature majorly in the show and give wonderful and iconic performances. The costumes, voices and mannerisms of each person are done to a T and you almost forget you're watching a tribute to these artists and not them live in the flesh!

As Cilla's devoted companion, Carl Au gives a charming performance throughout. His vocal performances are worth the wait when in act two he sings a delightful rendition of 'A Taste of Honey' overall he is endearing and a joy to watch.


The supporting cast are wonderful, especially Cilla's parents who deliver some hilarious one-liners throughout. Mention must also be made of the set design by Gary McCann which is striking and seamless in moving us from the Merseyside Club to Abbey Road to the London Palladium just to name a few. 

Cilla Black was a woman of the people's hearts and a National Treasure who will always be remembered for her stunning voice, wit and charm. This musical does the perfect job of remembering her  and chronicling her life in a glitzy and exciting but truthful way. Whether you're a massive Cilla fan or not, this show will certainly provide fantastic viewing!

Cilla runs at the New Wimbledon Theatre until November 11th before continuing its tour.

Cilla (UK Tour), New Wimbledon Theatre | Review

Wednesday 8 November 2017

Monday 6 November 2017

Opera: Passion, Power and Politics, Victoria and Albert Museum | Review


Opera: Passion, Power and Politics (Exhibition)
Victoria and Albert Museum
Reviewed on Sunday 5th November 2017 by Olivia Mitchell 
★★★★★

Opera: Passion, Power and Politics is a vast and exhilarating exhibition which explores the complex and beautiful history of opera as well as its power to affect us all. In collaboration with the Royal Opera House, the exhibition examines seven operas both in the context of the composer's lives and the cities and countries they were originally performed in (the only exception is the 1861 Paris production of Wagner's Tannhäuser.) The final room takes us into  the modern day with a selection of operas premiered in the last seventy or so years. 

The exhibition is extravagant and immersive; visitors are supplied with headsets which play pieces to accompany the route which evoke both intellectual and visceral feelings. Whilst I thoroughly enjoyed the entire exhibition and the accompanying music, I find it somewhat odd that the actual musical element is made optional, although there are so many factors which go into making an opera great, the music is certainly the most crucial. 


Wandering around the exhibition space it's amazing to see how opera changed so much whilst keeping its original roots. The displays become more and more lavish, with stunning costumes and other objects becoming grander as we get further in. The political climate and opera have always been thoroughly linked and it is particularly striking to see the sudden return to minimalism during the Soviet Modernism movement when Shostakovich's Lady Macbeth of Mtsensk was suppressed in 1936 and to be taken literally to the battlefield when the music is replaced with the sound of distant gunfire as we move to study Verdi's Nabucco.

This is overall a remarkable exhibition, which like the Opera itself, really needs to be seen and heard to truly be appreciated. The amount of information displayed is overwhelming but exciting throughout and both Opera lovers and Opera newbies are sure to learn something interesting. Visually experiencing the humanity and social relevance of the seven pieces is moving and compelling and I highly recommend you go and experience it yourself.

Opera: Passion, Power and Politics is on display at the Victoria and Albert museum until February 25th 2018.

Opera: Passion, Power and Politics, Victoria and Albert Museum | Review

Monday 6 November 2017

Saturday 21 October 2017

Kristin Chenoweth, London Palladium | Review


Kristin Chenoweth (Concert)
London Palladium
Reviewed on Friday 20th October 2017 by Olivia Mitchell 

When this post goes live it will officially be my 21st birthday which is crazy, but what’s even crazier is how incredible my birthday eve was. I spent the night at the London Palladium seeing the amazing, pint-sized superstar Kristin Chenoweth in concert. Before I continue on this review I must say that it’ll be pretty different to my usual ones as it’s going to be way more informal and personal, purely because I’ve had such a long history with Kristin so it was a pretty momentous night and I’m finding it hard to put into cohesive words.

So let’s start with the history... like many UK Kristin fans, I saw Wicked when it opened back in 2006, subsequently listened to the Broadway recording and fell in love with the cast. I then entered an obsessive phase where I watched all Kristin videos, listened to every song she'd ever sung, read every interview she'd done and was generally that annoying fan that could talk about nothing else. Since then I have become less over the top with my obsession but my love for Kristin has definitely not diminished and I was dying with excitement when I knew I was finally going to see her live.

The concert was marketed as an "Intimate Evening" with Kristin which I was dubious about seeing as it was taking place in the vast London Palladium; and whilst the venue certainly isn't intimate in any way, shape or form, Kristin somehow managed to pull me in and make me feel as if I was watching her sing in her living room.


Whilst I could go in depth about each song, there isn't really much point as I'll just be praising every one to no end, so what I will say is that each piece was vocally beautiful and Kristin gave honest, heartfelt performances from start to end. Of course she sang a number of her most famous songs including 'Popular' and 'Taylor The Latte Boy' (my grade 8 musical theatre piece!) but she also sang some lesser known tracks such as 'Upon This Rock' and 'I Was Here'. A particularly stunning moment was Kristin's rendition of the Les Miserables classic: 'Bring Him Home'- I was in floods of tears... as I was for the entire concert! We were also treated to a spine tingling duet of 'For Good' with one of my favourite performers ever: Rachel Tucker... truly epic!

I must be honest and admit that I was a little wary about watching Kirstin perform. Obviously I am a huge fan but I was worried that seeing such a big idol of mine live would be a bit of a let down. Well I couldn't have been more wrong. This was honestly the best concert I have ever experienced and I have never had such a strong emotional reaction to seeing someone live. Sure I cry at emotional parts of shows but this was another level, my mum and I were blubbering messes throughout... especially when Kristin finished the show with a NO MIC rendition of 'Smile'... tears upon tears! 

I just want to touch upon my personal connection to Kristin so you can really understand how much this concert meant to me. Firstly, as a Classical singer in training, Kristin is just everything I aspire to be. Her stage presence and vocal technique are things I can only dream of mastering on her level and her unapologetic performances inspire me to no end. I don't want to go too in depth with the second reason but several years ago I had a series of extended hospital stays and 20 operations on my knee (ouch, right?) due to an illness and during that time I remember reading Kristin's book 'A Little Bit Wicked' and being motivated and positive to get better. It wasn't something I had thought about until watching her perform but Kristin's influence on my life has truly been vast and way more involved than I'm going to explain but basically this was a magical and emotional night.



I'm still struggling to really put into words what made this concert so special but it was truly the most incredible theatrical experience I've ever had. Kristin is a master of her craft as well as a hilarious woman who completely commands the stage. Her outfits were the glitziest things I've ever seen but honestly, she could've worn a paper bag and I still would have been blown away. I couldn't have asked for a better entrance to being 21 and I will continue to strive to reach the levels Kristin is continually climbing. I pray to all the theatre gods that we can get Ms Chenoweth over on our turf for a bit. But in the mean time I will continue to relish in the delight and emotion that this devastatingly brilliant concert provided and I hope to one day meet Kristin and tell her in person how amazing I think she is!


Watch my vlog of the concert: https://youtu.be/5-Bsh6_UKJk

Kristin Chenoweth, London Palladium | Review

Saturday 21 October 2017

Wednesday 4 October 2017

In Conversation With... Natasha Langridge | In Memory of Leaves | Interview


Following on from Memoirs of a Tree, Natasha Langridge returns withIn Memory of Leaves. This monologue describes Natasha’s experience living in a block of flats on the Portobello Road council estate, which is being torn down by developers, and how all of her surroundings and green spaces are rapidly changing. The monologue also explores her work in Calais with the Occupy movement and the sadness people feel when they have to say goodbye to "home".



Did you grow up writing or was there something or someone which inspired you to write?

I’ve always written but I never showed anyone until after I’d started acting. I loved interpreting other writers work but I found that I had something to say too so I took my courage and showed my own work to other writer friends who, luckily, encouraged me to get it out there.



As well as writing, you perform and direct. How do you juggle each string to your bow and how do you smoothly transition from one to another?

I’ve got a very nice hat for each job and I look forward to wearing each one. I’m not sure I do anything smoothly except drinking wine.



Have you got any other quirky, hidden passions you’d like to pursue?

I went on a sailing trip recently. On an old Thames Sailing Barge .The main mast was 70ft high. I watched the mate climb the rigging. I helped unfurl the sail. I learnt how to tie a bowline knot. I helped steer the ship. I watched the moon rise up over the sea. I quite fancy being a pirate.



What’s your writing setup like? Do you have a certain playlist or drink you always have with you?

My vape. I move around to different places in my flat with my laptop. Or I sit on the floor with huge amounts of scrunched up paper strewn around me. Writing is terrifying. Like walking a tightrope.



In Memory of Leaves is extremely personal, did you feel a sense of pressure putting such an important story out into the world?

I felt a sense of compulsion. I’d just seen a beautiful park beneath my window massacred and felt I had to write about it and then shout about it. I am bearing witness to the ‘regeneration’ of my estate and of London and I have to tell its story-or my part in that story.



What’s the number one message you want people to take away from the show?

Live. From your heart. Speak out against injustice. We are living in a world run by psychopaths. We are living in a society based on a psychopathic model. Do whatever you can to protect love, all life and community. 



Finally, what’s your number one piece of advice for anyone hoping to get into the performing industry, be it writing, performing, directing or anything else?


Do it. Don’t wait for anyone else. Or for the phone to ring. Get some good training and make your own work. 


Thank you Natasha for taking the time to do this interview. In Memory of Leaves is being performed on a wide beam barge across three London locations. More information can be found at: https://goo.gl/QEXSrf

Interview by Olivia Mitchell, Editor

In Conversation With... Natasha Langridge | In Memory of Leaves | Interview

Wednesday 4 October 2017

Thursday 28 September 2017

Jane Eyre, National Theatre | Review


Jane Eyre
Lyttleton Theatre, National Theatre
Reviewed on Wednesday 27th September 2017 by Olivia Mitchell 

The National Theatre are outstanding at championing new, innovative work and thinking outside the box to bring audiences spectacular shows, something which they have once again succeeded at with this Sally Cookson's production of Jane Eyre. In Bristol, the tale was split into two parts but artistic director Rufus Norris has wisely squeezed the action into one performance.

I'm sure I'm not alone in having gruelling flashbacks to A-level English literature when I hear Brontë's novel mentioned, and what's lovely about this adaptation, thanks to the minimal sets, is that it allows the audience to create the world of Jane Eyre with their imagination as they would do when reading the book. The set is extremely modernistic in it's simplistic design with no grand structures to show the various momentous locations in Jane's life but instead using wooden platforms, metal structures and ladders as a framework for the action. The use of lighting is particularly impressive with white cloth backdrop that surrounds the stage being changed to different colours to show the various moods. The shocking red room is especially effective.

What struck me about this production is not only how modern it is in terms of aesthetics but how contemporary the character of Jane herself is. She's feisty with strong morals and a real feminist side. Although having seen her as ahead of her time when I read the novel, I'd never realised how truly relatable she is until watching this production. Her quest for freedom whilst not compromising her passions is joyous to watch.

The strong use of physical theatre added an intensity to the piece, as well as flow, especially in the running transitions during Jane's travels. The varying motion from smooth lyrical to frenzied, perfectly mirrored the changes in Jane's physical and metal health throughout. Another particularly interesting aspect was members of the ensemble speaking Jane's thought's aloud. This was humourous at times but also a very clever way of developing the character more without her having to tell the audience anything directly.

The trio of onstage musicians added a whole other layer with a number of musical styles accompanying crucial moments and transitions. Melanie Marshall was absolutely fantastic both physically and vocally; singing atmospheric pieces to fit with other characters or her own, Bertha. Her voice is strong and angelic whilst having a menacing and painful side. Her rendition of Crazy was notably unexpected but brilliant and perfectly woven into the story.

As Jane, Nadia Clifford exceptionally plays the fiery 10 year old girl who transitions into a headstrong but more rational woman. Clifford perfectly shows Jane's unyielding side but also her pain and love for Rochester. Tim Delap is suitably brooding as Rochester but adds a depth and awkwardness which makes him charming and attractive.

The entire ensemble are faultless but I must give a special mention firstly, to Paul Mundell who is hilarious as Pilot, adding some welcome humour. And secondly to Hannah Bristow who perfectly and distinctly plays Adele, Helen, Grace Poole and others.

This is a somewhat lengthy (3 hours and 15 minutes) play, but a striking production of a classic. The start is slightly slow but as we get into the action the momentum speeds up and we really get to see is the power of one of the first literary modern women.

Jane Eyre, National Theatre | Review

Thursday 28 September 2017