Posts with the label play
Showing posts with label play. Show all posts
Showing posts with label play. Show all posts
Thursday 28 September 2017
Jane Eyre, National Theatre | Review
Jane Eyre
Lyttleton Theatre, National Theatre
★★★★
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.
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.
Saturday 16 September 2017
Gate, Cockpit Theatre | Review
Gate
Cockpit Theatre
Reviewed on Friday 15th September 2017 by Alex Saddiqi
★★★★
Written and produced by Artemis Fitzalan Howard and presented by Deadpan Theatre, Gate is based around an average Thursday morning at ‘The Gate’ in Wapping and, like every first-born child in the generations before her, Eve (portrayed by Emma Dennis-Edwards) is guarding it carefully. It’s going to be a busy day- there are four new appointments booked in. The trouble is none of the clients knew they were coming… because to reach the gates you have to be dead.
The piece is set in the round which immediately I was really intrigued by. It made the piece more immersive and I was interested on how they were going to use the space and questioned “will it be as open to each side of the audience than I initially thought it would be?”. To answer this question, I would say that the actors used the space very well and opened up to the audience as much as physically possible in the space. Dependant on where you sit in the round, some moments and visuals can be lost during certain scenes but it does open up again eventually once more.
There was stunning detail to set which really added to the production; from the waiting room tables to the cluttered computer desk, down to the Facebook pages that were made up purposely for the show. The use of levels was very clever and gave us a break from looking straight ahead of us and also added to the immersive feel.
The vocals of the ensemble who were mainly situated above really resonated throughout the entire theatre and added to the vibe of the piece- the sound was stronger and more precise. Vocals and harmonies were distinctive, precise and beautiful but sometimes got lost when some overpowered others, this, however, can be easily resolved. Overall the entire company had amazing musical timing and it was a pleasure to hear them.
The piece is very humorous and Eve, a character who stood out to me is very comical throughout. She held great power and status throughout the scenes especially in the opening; showed one of the strongest character developments throughout and was my personal favourite. However, as previously mentioned, the round space meant I was blocked from seeing her face and expressions at times but she tried her best to include the people in the back in a natural way that is still true to the scene.
Each actor crafted strong characters and kept the pace and commitment up throughout. There is a great contrast of characters and each actor bounced off each other very well which made the situation feel more real. Each is relatable in the fact that everyone in the audience would know someone like one of five of the characters and they all had their own defiant traits, quirks and personalities that were made clear to the audience exceptionally. The whole cast had excellent comedy timing and it really showed through the audiences reaction. The audience reaction/response seemed very positive and they all seemed to love the piece as well.
I found that the overall storyline was easy to follow and the piece is such a brilliant concept. It's a nice fresh take on an afterlife/religious styled piece. The backstory of the characters was well presented. We learnt more about them as the story developed and it didn’t feel like an overload of information. The build up in some scenes felt a little rushed in but the tension and objective of the scenes were held well. There were a few prop and costume mishaps but the actors all carried on and played used them to add to the comedic effect.
I would definitely recommend to see this play and I would even go as far as saying that it’s one of the top ones I’ve see this year. The company are outstanding and give a spectacular performance of a brilliant play.
Gate runs at the Cockpit Theatre until September 24th
photo credit: Lidia Crisafulli
Friday 15 September 2017
Deathtrap (UK Tour), Theatre Royal Brighton | Review
Deathtrap (UK Tour)
Theatre Royal, Brighton
Reviewed on Wednesday September 14th 2017 by Melodie Hornett
★★★
Deathtrap felt a little unsteady from the offset. It opened with an unnecessary and horrifically loud sound effect. There were moments when I felt unsure of the intention - comedic or serious. The play itself is interesting and able to hold an audience throughout thanks to it’s plot twists and unexpected turns but there is a certain degree of repetition when the characters recount the events just passed. Sometimes, however, there seem to be too many twists, making it a little predictable. The very final scene feels unnecessary and unlikely, however the majority of the play works well and is highly enjoyable.
I would like to have seen stronger US dialects from the two leads as this was rather distracting. Particularly from Paul Bradley, who’s performance as playwright Sidney Bruhl was stellar, yet made unconvincing at times through slipping in and out of accent. His energy combined with his dedication to the character kept his performance afloat and he remained very enjoyable. The audience could clearly connect with his character and he is well cast in the role.
This is somewhat of a mismatch with Jessie Wallace however. She made a good effort in the role of Myra and showed she is capable of moving away from the familiar typecasting, however there was little connection on-stage between her and Bradley. She also felt detached from the audience, not really allowing us an opportunity to empathise with her. I feel she could have been a little braver with her performance and created a stronger character. She wasn’t greatly missed during Act 2 when the character is absent.
Sam Phillips’ portrayal of Clifford was well acted and demonstrated appropriate naivety in places. He shows great commitment to the role and is able to flick back and forth between alter-ego’s effectively. He shone out as particularly capable in this role and was well cast.
Julien Ball as Porter is unfortunately, unmemorable. He could have made this character much more commanding even verging on sinister, yet came across as weak.
The star performance without doubt came from Beverly Klein, who’s obvious stage background showed real command of the audience and the space she worked in. Great characterisation of Helga ten Dorp, perfect comedic timing throughout, a real joy to watch. She provided light-relief from some of the heavier scenes that was much needed.
Technically, the sound effects were far too loud in several places and music/sound used for dramatic effect seemed cheap, uninventive and predictable. The set looked great, was functional with the appropriate weapons clearly on display and some clever trickery used during fight scenes. Interesting use of thriller film clips between scenes, with a slightly kitsch opening picture frame, concealing the projector. A little more care needed to be taken with masking on-stage trickery, such as hiding of the dagger thrown across the stage.
Overall I did enjoy the piece, however felt that the casting of television celebrities in the majority of roles in Deathtrap was a mistake. I would recommend watching, turn a blind eye to some of the details mentioned above and you won’t fail to enjoy.
Tuesday 12 September 2017
In Conversation With... Marta Jorgensen | Donny and the Sun King | Interview
I am all about helping new writing because who doesn't want something fresh? So when Marta Jorgensen contacted me about her show which she has written and is currently trying to raise funds for, I was very intrigued and excited to talk to her about her process and what she's trying to do...
What got you into writing?
In my thirties I was married to a songwriter who ran off with his songwriting partner. In the beginning the urge to write was spurred on by wanting to get even. But as time goes by, one realises that revenge is a dish best left in the ice box. I was ready to throw it out and just write. Screenplays, songs, a lot of political writing and opinion pieces.
I found it nice to be published until… well you know, then you get a rebuttal. I ran for political office in the US and wrote extensively for that. Sustainability, Straight Talk and Citizen Activism. Politics is like theatre and that inspired several songs about politics and media. From those songs came the play.
Has it always been a passion of yours?
No, but singing has been since watching tiny Michael Jackson onstage at a young age singing like an adult. I wanted to be on stage at six years old. I caught a fame bug.
Can you explain what Donny the musical is about?
Donny is done as a play within a play or a kind of Metatheatre. I use this literary device; it is Rhoda’s inner workings, her mind and her thoughts, her emotional state. Freud talks about the dream within a dream and Shakespeare used it with success. The play talks about itself and is aware of itself. In the story she brings her family into her imagination, they sing about it, she sings about how she wants to write an ending she can live with. Rhoda in her dialogue calls attention to the plot and how it is not going her way. Characters give advice to her about what others should do.
Rhoda Haynes, a quirky New York playwright has a grudge against Frenchy King and his lying King Media Empire. Rhoda and her family are suing King Media over fake stories written about them. She can’t do anything or say anything to jeopardise it. But, she wants to get even. Hubert, Rhoda’s husband tells her to write and get it off her chest. So Rhoda, sitting at her desk, starts banging away on an old fashioned typewriter. She starts a play called “Donny and the Sun King”. Here is the story as she creates it - inserting herself and her family members, husband Hubert Haynes, daughter Blaze Haynes, as themselves (Rhoda Haynes, a playwright, Blaze Haynes, Rhoda’s daughter, a famous singer and Hubert Haynes, a Congressman). Just like in real life, the character family debates with Rhoda about plot issues involving them. Rhoda wants an ending she can live with so she tries to write one.
What made you write this show?
From the 80’s to now media has evolved and taken over our lives to an extent that we have lost control of it. Standing at the checkout counter you see name after name splashed there about some affair or travesty they had, then later you read the paper got sued for writing a fake story. Now everyday it’s on the Internet. I started this play three years ago with just that in mind. Now it’s done and we have Mr. Trump in office and all anyone talks about is fake news. So I have tapped into the zeitgeist of the times. But to tell you the truth, I have a fascination with the tabloid world. I love headlines like I married Bigfoot; Aliens are Living in my Basement. Frenchy King sings about these kinds of stories.
The subject is extremely relevant, what made you choose it?
The subject chose itself. How can you not write about it? It is today’s reality. How else can you write about Perry’s Poorhouse, Rhoda’s concept of Hell, a combination of Don Giovanni and Married with children and get away with it. Tabloid media lends itself to fanciful worlds and situations.
You’re raising the money for a score through Hatchfund, can you tell us a little about that?
Yes, Hatchfund is an arts crowd funding organisation. You have to submit to get accepted. They give you an account manager who baby sits you through the crowd funding process. They have a 75% success rate. I am raising money to hire a studio in Santa Barbara CA, Hidden City Studios and its owner, Elliot Lanam, to help flesh out the play songs and other music.
It’s a long process and the biggest part of producing a musical of course. I need $4000 to $5000 to meet my goal by October 31, 2017. There are 19-20 songs with names like My Story, Ratings R Us, Donny’s Lament, Hope and Pride, Perry’s Poorhouse, Babel, Ball and Chain, What’s in a Word, Lower Slobovia. The music is a mix of styles, kids have their sound, the media upper class have their sound and the Rhoda and her family have a sound of their own. All pulled together by a thematic through line.
Did you model the characters on anyone you know?
Well yes, but I might not be able to divulge that. LOL. I don’t want to be sued. That would be too much like the story acting out itself.
But I have to say there is a lot of Rhoda Haynes in me. If you want to know what parts you will have to read the play and donate to the cause. Then I might reveal it.
If you could sum the show in 5 words what would they be?
Beware of writers with grudges.
Hilarious, satirical and very entertaining.
What’s your best piece of advice for aspiring writers?
Go to school and learn it right. Treat writing like a job but be yourself. Or if you are not yourself, after you write for awhile you will find yourself. Then maybe you might want to lose yourself.
Listen to the small still voice in your head at 5 AM saying get up I have a scene I want to work on. That’s the muse. Or it could be the TV. Most of my work comes while walking in nature. Writing is channeling the universe. A wise man once said that and I find it to be true.
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
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