Posts with the label play
Showing posts with label play. Show all posts
Showing posts with label play. Show all posts
Thursday 7 September 2017
Wait Until Dark (UK Tour), Richmond Theatre | Review
Wait Until Dark (UK Tour)
New Victoria Theatre
Reviewed on Wednesday September 6th 2017 by Lucy Jardine
★★
Wait Until Dark, a 1966 thriller by Knott is a play about, well, a rather implausible and confusing plot where criminals try to recover, by kindness then by force, a object that the photographer husband has been persuaded to bring back from Amsterdam. We are never quite sure why he agreed to do this - was he a deliberate drugs runner (although drugs are never mentioned), or simply a gullible stranger? He never quite convinces as to what he does, in his love for Suzy, or indeed why he is away at key moments in the play. So that's the plot.
The set however, convinces more, and makes a nod to the 1960s original, the furniture and decor all instantly place us firmly in that era. The characters vary in their portrayals: there's nothing subtle about the bumbling crooks, the husband's fondness for his wife never seems quite genuine. The real tour de force is Karina Jones who herself was registered blind at the age of 13. Not having known this before the play, I had been utterly convinced by the way she felt her way around the stage, negotiating obstacles (a great many obstacles!) as she did so.
Overall however, by the end of the play you are left feeling that you have just watched a rather dated, over-theatrical production by a rather ho-hum am dram company. See it if you want a chuckle, but otherwise don't bother.
Thursday 31 August 2017
Late Company, Trafalgar Studios | Review
Late Company
Trafalgar Studios
Reviewed on Thursday August 24th 2017 by Lucy Jardine
★★★★
Late Company has transferred recently from Finborough Theatre to the tiny Trafalgar studios, where you sit, as if sharing the dining room, with the members of the cast. Debra and Michael, a couple whose gay son Joel committed suicide after having been taunted online, have gathered, a year after his death, with Tamara, Michael and their son Curtis, to try and find some kind of 'closure', some kind of reparation. Curtis was responsible for some of the bullying. A place at the dining table has been laid for Joel.
The play benefits from this close actor-audience involvement - you are drawn into the play as it unfolds, and leave feeling utterly involved, transformed in some way by what you have witnessed. We learn how Debra was unaware of videos that Joel had posted online, and how Curtis, moody Curtis, didn't think about what he was doing. We learn about Joel's depression - the sympathy that Debra displays, and the somewhat bullish opinions expressed by Michael that people should toughen up - that children are too protected.
Tannahill's script sparkles with authenticity. How many times have these conversations played out up and down the country? As Tannahill himself questions, and has us do, how much are we as parents responsible for what our children do and see online? How much space should we give our children? The actors succeed in bringing these questions to life in a very real, believable way - even if, occasionally, the Canadian accents lapse a little. If you want an uplifting night out at the theatre, don't go and see this play. But if you want to be challenged, go and see it tonight.
Late Company runs at Trafalgar Studios until September 16th
Tuesday 29 August 2017
In Conversation With... Louis Dempsey | The Weir | Interview
Louis Dempsey has an extensive list of credits to his name including film, television and theatre. He will soon be starring in the English Touring Theatre's production of Conor McPherson's, The Weir which opens on September 8th at the Mercury Theatre, Colchester.
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I trained with Cygnet Training Theatre in Exeter. I've appeared in numerous stage productions including the original West End production of Stones in his Pockets, Romans in Britain at The Crucible, Sheffield, Taming of the Shrew at The Globe, Juno and the Paycock at Bristol Old Vic, Some Voices at The Young Vic, Brothers of the Brush at Liverpool Everyman. I've also appeared in another Conor McPherson play, The Seafarer, at The Lyric Theatre, Belfast.
On screen I've appeared in films such as Troy, Cloud Atlas, Shooters, Revolver, Grabbers, Six Bullets, Omagh, The Last Drop. I've also popped up on tv screens in Holby City, Waterloo Road, Sea of Souls and, of course, The Bill.
Highlight of my career so far? Hmm. Probably Troy because it was an amazing experience to be part of a huge Hollywood blockbuster movie with all that entails.
Have you always aspired to be a performer or did you have a different career path in mind when you were younger?
I never had any ambitions to become an actor. Where I grew up in Dublin your ambitions rarely went further than getting a job and a drink! I loved films as a child but I always assumed that actors came from Planet Actor. The idea that I might one day be up there on screen myself seemed utterly ridiculous.
What drew you to the role of Finbar in The Weir?
I don't know if one could say I was drawn to the role. My agent called, asked if I was interested in taking a meeting for a touring production of The Weir. I knew something of the play and having done The Seafarer (also by Conor McPherson) I was curious. When I read Finbar I kind of got where he was coming from but only in a very rough way.
When people come to see this production of The Weir they can expect to hear the best story they will hear all year! No doubt at all.
Can you sum up the show in five words?
Hmm. Funny. Poignant. Scary. Moving. Uplifting.
How is the 20th anniversary production of The Weir bringing something new to the modern classic?
Well I have never seen a production of The Weir so I cannot compare but I will say that The Weir is such a complete story, with so many layers and revelations about life, love, sadness, joy, heartbreak and happiness that I don't think it is even accurate to describe it as a modern classic. The Weir is simply a classic, regardless of when it was written or set.
What’s a fun fact people may not know about you?
Prince Charles once asked me to have a drink with him. I did. It was fun.
If you could go back to any era, when would you go to and why?
Well, I'm not a big fan of the past. I suspect that if I did travel back in time to a bygone era, people there would say "What the hell are you doing here??!! There's no email and toilets haven't been invented. Are you crazy???”
What’s your best piece of advice for an aspiring performer?
You have two eyes, two ears and a mouth. Use them in that order.
Thank you so much Louis for taking the time to do this interview. The Weir starts touring on September 8th and continues through to November 25th
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Thursday 24 August 2017
Jane Eyre (Tour), Grand Opera House | Review
Jane Eyre (Tour)
Grand Opera House, Belfast
Reviewed by Damien Murray on Tuesday 22 August 2017
★★★★★
The National Theatre and Bristol Old Vic’s joint production of Jane Eyre is astonishingly good … and it is far from being what one would expect!
It may be based on Charlotte Brontë’s classic novel, but this work – devised by the original company – is modern in its approach, in its styling and in its staging and manages to retain Jane Eyre’s core characterisation of being a free spirit and a strong-willed individual who strives for equality and for the right to be herself.
I am not a Brontë fan, yet I was blown away by this riveting production and gladly sat through over three hours of it without any loss of interest. Everything about this visually-stunning production is praise worthy, from its innovative direction and inventive staging to its exceptional and intense ensemble playing (complete with strong elements of physical theatre), and from its faultless lighting and sound plots to its magnificent movement, which ranged from the delicate and the balletic to the furious and the frenzied throughout.
The trio of on-stage actor/musicians brought a lot to the table, with music that varied from appropriately ‘English’ style folk to gospel to what could best be described as atmospheric soundscapes, when required. Musically, I loved Melanie Marshall’s apt interpretation and arrangement of the Gnarls Barkley (CeeLo Green) hit, 'Crazy' – so unexpected, yet totally fitting.
Although performances were all faultless, I must congratulate Paul Mundell in particular for bringing the dog, Pilot, to life so well and with so much humour.
Years ago, the Belfast Festival at Queen’s used to bring some spectacular pieces of world theatre to Belfast and these were ‘special’… This production is of such a high calibre that it seems a shame that it is just another touring production, for it, too, is very ‘special’ and provides a fantastic night of theatre – Don’t miss it!
Jane Eyre continues at Belfast’s Grand Opera House until Sat 26 Aug, 2017
Monday 14 August 2017
In Conversation With... Kirsty MacLaren | Our Ladies of Perpetual Succour | Interview
I'm back with another Our Ladies of Perpetual Succour post (see my recent interview with Karen here)! Today I bring you a chat about all things Our Ladies with the lovely Kirsty MacLaren who plays Manda!
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
Well, for me, doing Our Ladies has been the highlight. I’ve covered so many career goals on this job, from working with National Theatre of Scotland, performing at the National Theatre, touring internationally and now working in the West End. Plus originating a role is a pretty special experience. It’s been the job that has kept on giving, to be honest.
Before I started Our Ladies, and during the breaks we’ve had, I’ve been lucky to do some really diverse work where I’ve learned so much. I’ve worked at Pitlochry Festival Theatre for a year, played Lulu in a series of radio dramas and performed with companies like the Royal Lyceum in Edinburgh. These experiences give you the chance to really learn what it is to be an actor.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
I always has lots of energy as a child and was sent to dance lessons to tire me out. I come from a musical family so was always exposed to different types of music, although I didn't really know anyone who had acted professionally. I loved doing amateur dramatics and going to acting classes when I was little, but I had always wanted to be a lawyer until I sort of fell into doing the arts. I went to a Knightswood Secondary, which has a performing arts school attached, and knew then that I had to go down that path.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
I think that we were all so excited with this piece we had made that we weren’t really thinking about how much of a hit it might be. We certainly couldn't have imagined the success that we have had over the 2 years of doing it. The team that are on it are amazing and we were having such a good time creating this piece of theatre that was totally different to anything anyone had done before. But the reception that we got on our first night at the Traverse is something I’ll never forget.
I saw the show at both The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work and rehearse change for different venues?
The show relies so much on story telling so whether you are in a small 100 seat venue or an 800 seat venue, that principle stays the same. What changes is how much you have to project in each venue, but as long as you think about telling the story to the person at the very back or top of the theatre, you can’t go wrong.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
I’m trained in different vocal styles, but rarely do you have to mash them together in one show. It’s tiring on the voice, but once you build up the stamina, it becomes much easier.
How do you keep your voice healthy? Do you have any vocal rituals?
We always do a big group warm up together before the show which gets you ready. It’s really important to rest when you can. I’ve also got a vocal steamer helps stop your voice drying out.
Besides yourself, who would you like to see play your role?
I’m a big fan of Morven Christie. She’s seen the show and tweets about it a lot. I think she’d fit right in with us girls.
Can you sum up Our Ladies in five words?
Bold; life-affirming; hilarious; heartbreaking; female
Have you had any funny onstage or offstage mishaps in the show?
Often! We are always laughing at each other on stage. I remember going on with my mic on the outside of my clothes. The other girls didn't tell me until quite a bit through the show. I didn't know what they were laughing at until I eventually realised, and by that point, it was too late.
Is there a musical or play you’ve seen recently that you loved?
I’ve been able to see quite a lot of theatre this summer while I’ve been in London. I loved The Glass Menagerie and Half a Sixpence - both very different, but both brilliant.
Whats a fun fact people might not know about you?
I work as a fitness instructor in my spare time. Its a great job when I’m not acting as its flexible, plus I can fit classes in during the day when I’m working in a show.
What’s your best piece of advice for an aspiring performer?
Every opportunity is a good opportunity. Whether you're at youth theatre, am-dram, drama school or a professional show, you can learn from every experience. Listen to any advice you can get and never be scared to ask for help.
A huge thank you to Kirsty for doing this interview!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Tuesday 8 August 2017
In Conversation With... Karen Fishwick | Our Ladies of Perpetual Succour | Interview
I am an absolutely massive fan of Our Ladies of Perpetual Succour (it was number 5 in my Top 10 Shows of 2016) and its incredible cast. One of its members is Karen Fishwick who plays the role of Kay spectacularly. She embodies various other characters brilliantly and is just a fantastic performer. Karen was lovely enough to sit down and answer some questions and the show, the music and advice for aspiring performers.
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
I went straight from high school to Motherwell College where I did two years of Musical Theatre (HND) and rounding off my BAhons on the Acting course. Before that, all through high school my summers were filled with any creative short courses I could possibly apply for - acting, opera, contemporary dance, circus. I wanted to do it all. I think these were valuable training without noticing it at the time.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
It was always there though I do remember a brief spell of hoping to become a zoo keeper. I remember playing defense on the school football team; everyone chased the ball to the other end of the pitch while I'd stand there on my own and sing. And thus my dazzling football career came to an end.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
Thanks, that's kind. No, I mean, you never know do you? You, of course, always hope a piece will be received well but if you go in thinking "this could be the next big hit" you're kinda focussing on the wrong thing. When I first read it, I was amazed at how different it was to anything else I'd ever auditioned for and that was thrilling. That made it stand out for me. I don't remember rehearsing and thinking oh wow, this is going to be nuts. It was really hard work, that's all we were thinking. Gotta nail this bit, then this bit. When the first audience response came at the Traverse in 2015, that was the moment. I'll never forget it.
I saw the show both at The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work at rehearse change at different venues?
Absolutely. With every single new venue we played, as soon as we got onto the stage it was "ok, what are we dealing with here". We need to know there isn't one corner we'll miss flinging this story at. Eye-balling the audience is one of my favourite parts of the show. The sound would feel different depending on how big or small and venue was. The huge rock moments or intimate confessions need to carry the same wether we're at the brilliantly close Live Theatre in Newcastle or the Theatre Royal in Brighton. Vicky always made sure it was the first thing we'd address.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
A mixture, I think. The classical to rock stuff has different demands. Even within the ELO numbers themselves, they're songs are eclectic! Martin Lowe, our beyond wonderful MD leaves no stone unturned there and we worked hard with him on each sound. His attention to detail for each different style is what makes the show so successful.
How do you keep your voice healthy? Do you have any vocal rituals?
I didn't sing in the play I did before this so a few weeks before we started rehearsal, I made sure I was strengthening it up. I found YouTube videos for that (thank you Verba Vocal Technique). I drinks tonnes of water and try to keep on top of tension in my neck and shoulders. Steaming is good. And not being hungover.
Besides yourself, who would you like to see play your role?
Can I pick anyone? Christopher Walken.
Can you sum up Our Ladies in five words?
Messy. Honest. Loud. Touching. Empowering.
Have you had any funny onstage or offstage mishaps in the show?
For sure. I panicked and took off one shoe once. Did a couple scenes without it. I really didn't know when I'd be able to put it back on. Another time, I accidentally threw a box of candy sticks straight into the face of a girl sitting on stage. Other venues didn't have a chair there, it was muscle memory gone daft! She lived.
 |
| Karen Fishwick (Kay), Caroline Deyga (Chell), Melissa Allan (Orla), Frances Maylie McCann (Kylah), Kirsty MacLaren (Manda), Dawn Sievewright (Fionnula) |
Is there a musical or play you’ve seen recently that you loved?
I freaking loved Book of Mormon! I thought it was so funny and done so well. There's so such much I wanted to see but can't make; Angels in America, Hamlet.
What’s a fun fact people might not know about you?
My great, great, great, great grandfather was a tiny little mushroom.
What’s your best piece of advice for an aspiring performer?
If you work as hard as you possibly can, you will not fail. You will not. What about luck? Work hard to generate it. Nothing will happen if you don't work for it.
A huge thank you to Karen for doing this interview! Keep your eyes peeled for another Our Ladies interview coming soon!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017Interview by Olivia Mitchell, Editor
Monday 24 July 2017
I Loved Lucy, Arts Theatre | Review
I Loved Lucy
Reviewed on Monday July 24th 2017 by Olivia Mitchell
★★★
Just transferred from the Jermyn Street theatre to the Arts Theatre, I Loved Lucy is an autobiographical play, adapted from Lee Tannen's memoirs about his relationship with cultural icon, Lucille Ball.
A massive fan of the comedy star, Tannen uses obscure family ties to meet and form a friendship with Lucy. They bond with stories and fantasies over their games of backgammon as Tannen becomes a close confidant and sees a side of 'Auntie Mame' that very few got to see.
As someone who wasn't alive during any of Ball's life and who until writing this review, had never seen an episode of I Love Lucy, I don't suppose I'm the target audience for this play. There were a number of anecdotes and names which meant nothing to me purely because of my age and I felt I was an outsider looking in on the jokes. However, for most of the times I didn't laugh, something else came along which had me in hysterics proving you don't need to be a Lucy fan to enjoy this show. Tannen's script is witty and uses repetition extremely well to generate laughs. Alongside the laughs there are also more heartfelt moments, especially in act two when Lucy realises she has peaked and can never achieve the same levels of fame and love again.
Tannen as the narrator is humorous and he doesn't shy away from showing his dark side as well as Lucy's but I found it strange at times how closely he paints the relationship. Tannen is shown as being one of Lucy's only confidants and the only person in her life. With her children and partners barely mentioned I feel that Tannen is an unreliable source and although it may have been true that Lucy had very few other relationships, it would be interesting to see why the others are so absent.
Sandra Dickinson captures Lucy's mannerisms and iconic laugh perfectly. She gives a truly wonderful performance and remains committed to the role throughout. Her comedic timing, although sometimes ever so slightly off is good and she delivers Lucy's slicing asides and witty quips with ease.
As the celebrity obsessed, excitable, Tannen, Matthew Scott is great and he gives a beautifully emotive performance. He not only plays his main role but a number of smaller roles such as the hotel receptionist and chauffeur where he shows off his versatility well. Dickinson and Scott's chemistry is great and although the stalkerish fan becoming best friends with the star is kind of strange, it somehow works and comes across in a natural way.
Anthony Biggs' direction makes good use of the black box Arts Theatre and he is unafraid of stillness for dramatic effect. Gregor Donnelly's simplistic set design adds just enough drama whilst keeping the flow of the piece.
I Loved Lucy is a joy to watch- great fun with an air of drama, glitz and glam.
I Loved Lucy runs at The Arts Theatre until September 2nd 2017
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