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

Saturday 13 January 2018

Strangers in Between, Trafalgar Studios | Review


Strangers in Between 
Trafalgar Studios
Reviewed on Friday 12th January 2018 by Shaun Dicks
★★★★★


As a member of the LGBT community we all face our fair share of struggles. One of those struggles is the loss of family, whether its you leaving them or they sever ties with you. Strangers in Between tackles the subject of creating your own family with wit, humour and wonderful storytelling. It’s the story of Shane, a 16-year-old boy who runs away from his home and family in suburban Australia to Kings Cross, Sydney. The story follows Shane as he tries to navigate these new surroundings and new friends whilst carrying old baggage.

The story and message is a very relatable one; one that is very well crafted by Tommy Murphy. Murphy’s crafting of the story and characters is genius, the script is witty and humorous without even trying. The writing is outstanding, modern scriptwriters please take note. The direction from Adam Spreadbury-Maher is masterful, the show being slick, punchy without being over bearing.


Now we come to the cast. No words can be used to describe how outstanding the all-male cast of three are. You can tell that the relationship between them is strong. They are comfortable with each other and they have an undeniable chemistry. Roly Botha as Shane was truly endearing, creating a gem of a character. Dan Hunter as Will/Ben was charming as Will but complex as Ben. Hunter’s ability to change between roles was brilliant. The best I’ve saved until last, Stephen Connery-Brown as haggard old queen with a heart, Peter was simply perfection. Peter was witty, humorous, serious, kind and loving; the complete character. Connery-Brown isn’t just talented, he is an actor young performers should look up to. He gives a masterclass on how theatre should be done. These men took this script, ran with it and then some.


As a gay man myself, I relate to this story. It didn’t make me feel just for a second but a very long while. It made me emotional and think for hours after the show. That is a signifier that it is excellent theatre. The Kings Head Theatre is renowned for producing brilliant LGBT theatre, Strangers In Between falls into that bracket and is more than deserving of its West End transfer to Trafalgar Studios. Everyone needs to see this show. Support the wonderful Kings Head Theatre, support Strangers In Between. It deserves to be seen. It deserves to be recognised. It is the best thing you will see. 

Tell your friends, family and work colleagues. Everyone needs to see Strangers In Between!

Strangers in Between runs at the Trafalgar Studios until 3rd February 2018

photo credit: Scott Rylander

Strangers in Between, Trafalgar Studios | Review

Saturday 13 January 2018

Thursday 11 January 2018

Lobster, Theatre 503 | Review


Lobster 
Theatre 503 
Reviewed on Wednesday 10th January 2018 by Shaun Dicks
★★★

Theatre 503 is renowned for new writing. Its reputation precedes itself for creating fresh, innovative and thought-provoking work. Tonight, their offering was Lobster, not the food, but the new play by Lucy Foster. The thing with new work, especially previously untested work, is that it can be very hit or miss. Lobster is like an edge to first slip, it was neither a hit or a miss.

Lobster is the story of J and K, two young professional women in London. We follow them throughout this story as they narrate through their relationship history. J (Alexandra Reynolds) is the loveable geek who is almost unbelievably nice. Reynolds did a decent job playing J but it felt like it all fell on one note with her. It didn’t feel like a completely realised character and needs more work to really capture who J is as a character. Overall she felt quite bland. However, K (Louise Beresford) felt like a slightly more well-rounded character. Despite the character being very stiff, there is a dry humour about her that as an audience member you can’t help but laugh. K is a more well-rounded character because of her inability to let herself be happy, she is her own saboteur.

The story itself is a good one, it is one that needs to be told. In the modern age of technology, dating and relationships have become so much harder. It’s a minefield. But the script itself, though humorous, needs work. It needs tightening up in certain places and would benefit from a workshop or two and a fresh set of eyes. The direction from Kayla Feldman is standard but needs to be developed and worked further so that it can become special.

This show has the potential to be something special, the story is there, but there are certain aspects that need tightening or a metaphorical jolt in the arm. There is too heavy a reliance on modern culture for humour to land, the characters need development and the overall presentation of the piece needs work. If the show is to go any further, changes need to be made. The show as it is now is ok but it deserves to be better.

Lobster runs at Theatre 503 until January 20th 2018

photo credit: Ali Wright

Lobster, Theatre 503 | Review

Thursday 11 January 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

Friday 15 December 2017

War Horse, New Theatre Oxford | Review


War Horse
New Theatre Oxford 
Reviewed on Wednesday 13th December 2017 by Donna Meredith 
★★★★★

I came to this production having read the Michael Morpurgo novel, on which this adaptation by Nick Stafford is based, several times with my children.  I relished the prospect of finally getting to see how this beloved story would translate from the page to the stage, and how the characters of Joey and Topthorn in particular would be brought to life in puppetry.

Since its premiere on 17th October 2007 War Horse has been mesmerising audiences across the world and I now know why. This 10th Anniversary tour is made more poignant by its timing following the recent 100 year anniversary of armistice day.

The production depicted the extraordinary and deeply moving story of the relationship between the central character, Albert Narracott played by the superb Thomas Dennis, and his beloved horse, Joey. 


On one hand, the tale of a young man’s unwavering quest to find his adored horse after it was requisitioned for the WW1 war effort. On another, this tells the story of how horses were used and sacrificed in huge numbers on the French battlefields.

Alberts quest to be reunited with Joey takes us on a journey as he enlists and goes off to war. The reality of war is brought to life on stage to dramatic effect, the sound effects and imagery at times alarming in their honesty and intensity. The stirring music and songs, alongside the visual imagery projected on stage add to the powerful impact.


We see how relationships develop both on the home front and on the bloody battlefields  and how the war effects different characters. A poignant example is the friendship between Friedrich Muller played by Peter Becker and young Emilie played by Joelle Brabban.  As the horrors of battle take their inevitable toll on Muller we see him lose his grip on reality and develop an almost childlike quality.

However the standout stars of the show, in my opinion, are the Handspring Puppet Company who bring amazing puppetry and skill to the stage. To describe the horses as 'puppets' doesn't do justice to how amazing they are. Even with the puppeteers in full view of the audience, the horses appear 'real'. They come to life before you, galloping, charging, breathing . I was immersed in the story and the realism of what was portrayed on stage.

Complex, intense and disturbing yet gentle and moving in equal measure. I would recommend this wonderful production to theatre goers of all ages. A enduring story of humanity and friendship and a timely reminder of the futility of war and the sacrifices made by those that have gone before us. 

War Horse runs at the New Theatre Oxford until 6th January 2018.


War Horse, New Theatre Oxford | Review

Friday 15 December 2017

Thursday 14 December 2017

In Conversation With... Matt Addis | Remarkable Invisible | Interview

Matt Addis is currently starring in Remarkable Invisible, he sat down with me to chat all about the show, theatre he's recently loved and more...



For anyone that doesn’t know, can you explain a little about your career and what your highlight have been so far 
I’ve been acting professionally for ten years, after escaping a blossoming career in corporate sales. Playing Nicholls in the international tour of War Horse was a delight, especially the shows for township kids in South Africa, where the puppets originated.  

Have you always aspired to be a performer or did you have a different dream when you were younger? 
I always aspired to be James Bond, but after reading John le Carré I decided acting was maybe a less tedious career.  

Have you got any hidden passions you’d like to pursue? 
Rally driving, although I’ll need a few more well-paid jobs to really make that happen.  


What can people expect when they come and see Remarkable Invisible? 
A deftly-woven, delicate portrait of a family. Beautiful naturalistic dialogue and some hard home truths.  

What drew you to the role of Christopher in Remarkable Invisible- are the two of you alike in any ways? 
It’s a beautiful play, deftly painted onto a very small canvas. I was enchanted by the quality of the writing, which feels so beautifully fresh. Christopher is an emotionally stunted millionaire architect who lives in San Francisco and likes good bourbon. I like good bourbon.  

Can you sum up the play in five words? 
Family. Moving. Home. Lies. Truth.  


Is there a play or musical you’ve seen recently that you loved? 
Iphigenia in Splott, with Sophie Melville at the NT has to be the finest piece of theatre I’ve seen in years. Excoriating, visceral and evocative. Sophie’s worked here at Keswick before, and I hope she’s back very soon.  

What’s a fun fact people might not know about you? 
I once played Dame Edna Everage in an episode of Hollyoaks.
  
What’s your best piece of advice for an aspiring performer? 

Listen to all the advice you can find, and disregard everything that gets in your way. Believe in yourself with a passion stronger than any obstacle. Find joy in the present, wherever that is!

A huge thank you to Matt for taking the time to chat to me. Make sure you catch him in Remarkable Invisible as well as any future projects!

Interview by Olivia Mitchell, Editor

In Conversation With... Matt Addis | Remarkable Invisible | Interview

Thursday 14 December 2017

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

Monday 13 November 2017

Saint George and the Dragon, National Theatre | Review


Saint George and the Dragon
Olivier Theatre, National Theatre
Reviewed on Friday 10th November 2017 by Olivia Mitchell 
★★★

The National Theatre's current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as "a folk tale for an uneasy nation" this production time travels from the medieval times all the way to the current day and questions whether England is losing it's traditional values and whether change is always positive.

Rory Mullarkey's play has faults and drags a little but its interesting and humourous throughout and works extremely well in the space of the Olivier theatre. 

As George himself, John Heffernan is Shakespearean, larger than life, witty and charming- perfect for the role. A particularly funny moment is when he disguises himself as 'Ian' in the 2017 world, raising the question of how much we're willing to change to fit in. The character is interesting because as those around him change, he stays the same and becomes somewhat innocent in nature. This transition from the bold hero, to almost childlike is an interesting watch and the idea that distant 'heros' aren't always what the world needs is especially relevant now when it's being revealed that many Hollywood idol's are not the people we should be looking up to at all.


Julian Bleach is the perfect contrast as the sinister but witty Dragon; his portrayal is fantastically strong and gave me major child-catcher vibes in the second act. As the feisty, voice of reason heroine, Elsa, Amaka Okafor is brilliantly cast.

This show wouldn't be what it is without Rae Smith's outstanding set design which transitions along with the characters seamlessly and adds a simple but strong dimension to the play. From the green fields of medieval England to the factory filled London during the industrial revolution, each set is instantly recognisable. Whilst extremely fitting for the time period, the sets also have a humourous aspect such as the way smoke puffs out of the factories. Accompanied by the great, atmospheric lighting by Bruno Poet we are transported through the history of England.

Overall I don't think this play will be to everyone's taste and it could certainly be trimmed down for a smoother flow but it's definitely interesting and I enjoy how it raises some important and relevant questions whilst still remaining humourous. Its genuinely funny and entertaining and Rory Mullarkey has done a great job of reinventing a traditional tale.


Saint George and the Dragon, National Theatre | Review

Monday 13 November 2017

Friday 3 November 2017

Macbeth, Bussey Building | Review



Macbeth
Bussey Building 
Reviewed on Thursday 2nd November 2017 by Alessandra Cenni 
★★★

Nothing screams ‘welcome to this production of Macbeth’ better than a lovely full-body skeleton comfortably sitting centre stage.

The charming gentleman was the first character I met last night at the CFL Art Cafe in the Bussey Building - a suggestive performing space, large enough to allow an interesting setting, but that nonetheless will give you the chills when the lights go out.

The premise of this post-apocalyptic retelling of the famous tragedy was clearly stated in the programme: civilisation had met its fall, and humanity is trying its best to survive through violence, living on the scraps of the previous world. The setting and costumes give justice to this new world, and I found myself wondering how military clothes and bullet belts could feel even more appropriate than traditional costumes. Because they really did. This new desperate-fallen-revolutionaries look just clicked with the characters better than I expected.

I found the visuals and sounds of the second act particularly beautiful - especially if you have a thing for dark and stormy nights, blood-thirsty characters, and violent actions, like I do. That was the part where the raw savagery of the plot found its perfect expression in this broken, hopeless imitation of humanity.

And yet, this backstory also becomes a downside to the production. It raised lots of expectations on the way this story was going to intertwine with the original and what it could add to it, but these were never fulfilled. The backstory was more of a background than a story, maybe also due to a pretty static stage. Since I love the idea, I would definitely love to see how this would play out in a larger production.

The cast gave a fierce, energetic performance that had its strongest moments during the second act. At points I was amazed at how I felt as though I was in the middle of a epic war with only six actors actually fighting on stage. 

The witches chose to go for a seriously creepy effect (borderline disturbing, I would say). Their movements had something feral, that belongs to wild beasts rather than humans. The main pair - Macbeth and his Lady - were just made for the part. Henry Proffit’s Macbeth starts off with a cheeky smile, almost playful, but his later torment seems genuine. Sadie Pepperrell (also one of the witches) plays a Lady Macbeth who looks extraordinarily young, charming, and ambitious.  Her mental breakdown in Act 2 was particularly strong and convincing.

My loyalty, however, goes to Macduff (Jared Fortune) and his family. Lady Macduff (Danielle Bond - again, one of the witches as well) fights like a tiger against four men, and so does her son, before being slaughtered. Macduff’s despair was so authentic I took his family's death as a personal offence, and I was really invested in their revenge.

A special mention goes to the kids - Quentin Debone as Macduff’s son, and Adam Nkomo as Fleance at this performance - who really made an impression on me and, from the high-pitched noises I heard, on the rest of the audience as well.

This Macbeth could be a starting point for something truly great; it is also a good way to get to know this venue, and definitely worth a trip to South London even if you're not local.

Macbeth plays until the 18th of November at the Bussey Building, Peckham

photo credit: Scott Rylander

Macbeth, Bussey Building | Review

Friday 3 November 2017

Monday 30 October 2017

In Conversation With... Charlotte Cooper | The Night Pirates | Interview


Charlotte Cooper has had an extensive career and is currently starring in the swashbuckling family production, The Night Pirates. Charlotte sat down with Rewrite This Story to tell us about her career and why this production is perfect to take your little ones too!

For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I have worked extensively in children's theatre. I have been lucky enough to tour all over the world including Singapore, Malaysia and America as well as all over the UK and a stint in the West End. 


Have you always aspired to be a performer of did you have a different career path in mind when you were younger?
I discovered performing when I was 10 and knew instantly that I wanted to do it as my career. Prior to that I had wanted to be a farmer! I am still a big tractor fan and listen to The Archers daily.


What drew you to The Night Pirates?
The Night Pirates is a great book and gender equality in the form of female pirates is what the world needs! The team behind it are brilliant, Miranda and Barrie work beautifully together and Rose Theatre Kingston produce such excellent stuff. As soon as I heard it was being done I was itching to be seen for it. I am really pleased and proud to be a part of it 

Did you have a favourite bedtime story growing up? 
I was a big fan of Each Peach Pear Plum and the Jane Hissey Old Bear stories. I still have a soft spot for those.


What would your pirate name be?
What WOULD it be?! I am already blessed with one! ChARRRlotte or Captain Cooper. Captain ChARRRlotte Cooper to give me my full name.


Can you sum up the show in five words?
Swashbuckling action-packed piratey fun!


How do you adapt to performing in front of groups of mainly children compared to mainly adults?
An audience of mainly children is not a forgiving one! With shows for younger audiences, you know immediately by their reaction if something has or hasn't worked. They become restless if not fully entertained and need to be given plenty of opportunities to interact. It is a high energy medium and you have to be thinking constantly. 



Younger audiences notice everything, it’s impossible to trick them or divert them, if something funny happens on stage they will have noticed and you can't gloss over the moment in the way you could with an adult audience. (I was once in a show where another character and I collided and he fell over. It was incredibly funny as he fell to the floor and into a spotlight centre stage, the whole audience saw it so I had to acknowledge it had happened which gave them permission to laugh and helped to explain my obvious guffaws!)




What’s a fun fact people may not know about you?
I have a keen interest in dinosaurs and am currently studying a paleobiology course. I find it fascinating!


What’s your best piece of advice for an aspiring performer?

Find your niche. The acting industry is vast and there are many different genres and mediums, the thing you may be best suited to you might not know about yet. Be open and receptive to trying new stuff and find what you enjoy.


A huge thank you to Charlotte for taking the time to do this interview. The Night Pirates is touring until November 19th, more information can be found here.

Interview by Olivia Mitchell, Editor

In Conversation With... Charlotte Cooper | The Night Pirates | Interview

Monday 30 October 2017