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

Friday 30 March 2018

Trainspotting Live, The Vaults | Review


Trainspotting Live 
The Vaults 
Reviewed on Thursday 29th March 2018 by Olivia Mitchell 
★★★★

Crude, disgusting, shocking, amazing, outstanding. Just a few words to describe this mental but incredible production. Trainspotting Live, based on Irvine Welsh's 1993 book, follows a group of heroin addicts on their journey through life in an economically depressed part of Edinburgh.

I must admit, when I was handed my fluorescent wristband and shown into the space thumping with techno music like an underground rave, I was a little (okay a lot) scared. This fear remained with me for the first part of the show; my heart was racing and I was shocked and slightly appalled at what was going on. Having never seen or read Trainspotting Live, I had zero idea of what to expect but oh boy was I pleasantly surprised. 

Sure this show is crazily abrasive and probably offensive to a lot of people but it's also funny, authentic, moving and inventive. The 75 minute performance is visceral and as long as you have an open mind that's ready to be shocked then it's totally for you.


This show is not for the faint of heart though. Lets just say that the actors are not the only people involved in the action of Trainspotting Live, so beware. Especially if you find yourself sat next to the dirtiest toilet known to man, or in the firing line of the of the products hurled out of it. This story is immersive and innovative whilst still capturing reality and being relatable for the people of today.

This darkly comic show has no boundaries and freely approaches nudity, drugs and sex. The young actors do a fantastic job of bringing this all to the audience and their free, energetic performances and blunt portrayal of addiction which will resonate and stay with you after the show. I felt so immersed that coming out  was like waking up and having to readjust to the world.

From a technical standpoint, Trainspotting Live is outstanding. The entire cast of actors put their absolute all into every single moment and it honestly feels as though they're experiencing the whole show for the first time. Frankie O'Connor's performance as Renton particularly stands out but there is not a weak link in the cast. 


The lighting design by Clancy Flynn is inventive, with the strobe lights used at the end creating a disorientating but mesmerising effect and Tom Lishman's sound design is constant enough that it blends in and becomes a part of the show instead of being a layer added on top just for the sake of it.

There are gasps, laughs and pained silences throughout and the full spectrum of emotions are truly explored. For a visceral and moving performance, like nothing else then please go and see Trainspotting Live. You'll be left feeling slightly drained, extremely shocked and really really wanting to go and clean yourself but it'll be worth it!

Trainspotting Live is at The Vaults until June 3rd before heading to New York.

Trainspotting Live, The Vaults | Review

Friday 30 March 2018

Saturday 24 March 2018

Vincent River, Park Theatre | Review


Vincent River
Park Theatre
Reviewed on Friday 23rd March 2018 by Nicola Louise
★★★★

Hate crimes are unfortunately, still prevalent in the LGBTQ+ community; Vincent River portrays the aftermath of these horrific events.

Set in a flat in East London, the play centers around two characters, Anita and Davey. At first it’s quite hard to establish the connection the two share but that just adds to the emotions of both people on stage.

Anita (Louise Jameson), a grieving mother who lost her child, Vincent, in an awful way. He was found beaten and dead in a hot spot known for gay activities. Anita hides her hurt well, clearly in denial. She also attempts to hide the fact her child was gay, something she didn't want to face during or after his life.

Davey (Thomas Mahy) is the character who walks into Anita’s life- he was the one who found Vincent. When this comes into light Anita wants to know more. She want’s to know what he was doing there and how he came across her child’s body.

The show will take you on an emotional journey and I struggled to keep my tears in at various points.

Both actors portrayed the emotions of love and hate very well and by the end I found myself just wanting them to be friends and to bond over the loss they both endured. 

My only issue with this show is with the character Davey. I felt the director and the actor tried so hard to stereotype young men in East London, down from the way he spoke to the way he acted when Anita asked him questions. His anger is justified but there were a couple of lines where I was left wondering why he burst out into anger like that.

Vincent River, written by Phillip Ridley is a new and refreshing play focusing on the plight of hate crime on the LGBTQ+ community and it’s an eye opening, emotional piece of theatre. At only 80 minutes long you don’t find yourself looking at your watch, you’re hooked on every word the actor is saying, wanting to know more, wanting to see how the story unravels.

Vincent River is at the Park Theatre until the 14th April.

Vincent River, Park Theatre | Review

Saturday 24 March 2018

Thursday 22 March 2018

Misty, Bush Theatre | Review


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

ArinzĂ© 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

Wednesday 21 March 2018

The Lady with a Dog, Tabard Theatre | Review


The Lady with a Dog
Tabard Theatre
Reviewed on Tuesday 20th March 2018 by Shaun Dicks
★★★

Tonight, we find ourselves at a Chekhov piece. Not one of his plays but an adaptation of one of his short stories. The interesting thing when it comes to adaptations is that it can be either a hit or a miss, in this rare case, it was neither. We find ourselves following the story of two married couples, each with a spouse on holiday alone. They form a bond, and this story follows that bond through a certain length of time. This show tackles the themes of love, open relationships and age differences, all within an age where two out three were taboo. I’ll let you guess which two. 

For me the show felt like a show of two halves, the first act seemed a little laboured. There was a lack of intent and pace that didn’t make me want to follow the story or the characters within it. The story itself is decent, it follows the formulaic way of presenting a story of infidelity but contained some interesting characters. The shows use of the spouses that weren’t on the holiday as a Greek chorus was an interesting and ultimately inspired device of storytelling. 


However, despite the unnecessary interval, the second half was infinitely better. There was a drive in the second half that the first lacked. The intent shown by all members of cast in the second half really drove the story home and made me care about them as characters and the story of their lives unfolding. Each member of the cast was strong in their own ways but sadly there were a few weaknesses on show that do need improving. 

One thing that does need improving overall is the script. The overuse of monologues within the text was arduous at times. The script needed to show more and tell less, it felt like the characters were giving us large amounts of information, when really, they should’ve shown us. Monologues are all well and good but give your audience some credit and let them receive information in a more interesting and creative way. 

The Lady with A Dog is a decent show. It is neither good or bad. If you are near to the Tabard Theatre or a fan of Anton Chekhov, then I say go see the show. But if you are looking for something new and exciting, this show isn’t for you. The show needs work both on the performance side regarding pacing and intent but also from the writing side as the script is very formulaic and needs to make some changes before this show becomes something special. This show has the potential to be great and as a fan of Chekhov myself, I want it to achieve that. It just needs to develop to get there. 

The Lady with a Dog runs at the Tabard Theatre until April 7th

photo credit: Andreas Lambis



The Lady with a Dog, Tabard Theatre | Review

Wednesday 21 March 2018

Friday 16 March 2018

Female Parts: Shorts, Hoxton Hall | Review


Female Parts: Shorts
Hoxton Hall 
Reviewed on Thursday 15th March 2018 by Nicola Louise
★★★★

Female Parts: Shorts tells the story of three very different women through their three very different monologues. A Woman Alone, An Immigrant and A Mother, each one battling their own series of events and demons.

The show opens in a living room, clothes hanging on the wall and baby things over tables and floor; the Women Alone busts into the living room singing and dancing her heart out, it’s not until she notices that a new neighbour has moved in that she starts talking. The Women Alone, played by Gehane Strehler, starts to describe her life as this happy fairy tale, it isn’t until we get further into the story that we realise appearances are not all they’re cracked up to be.

Strehler delivers a fantastic performance as a hard done by woman having to live her life according to her husband. The emotions she displays in this hour monologue pull you into the story wondering what her next move is.

The next monologue is from The Mother played by Rebecca Saire, a woman who just found out her son’s a terrorist. She asks the audience, ‘what would you do?’ You could see the pain in her eyes, as she asked herself: ‘why me?’ ‘what did I do?’. Saire takes you on a journey of love, hatred, and disgust in this 40-minute monologue and I wager a bet that you don’t come out of there questioning the way you look at terrorists and their families.


Saire talks us through a dream she had, being the mother of a terrorist and takes us through her experience. She’s able to add in other characters, completely different to herself and give them lives of their own.

The last performance was The Immigrant portrayed by Clare Perkins, a west indies woman whose dream was always something bigger than what her family had for her back home. She came to London, got an engineering degree, came home and got a job at the UWI (University of West Indies), got married and had a child.

The conversation was aimed towards the Imperial College London graduating class of 2018 where her daughter sat. Perkins spoke about the injustice of her going up into space, how, if she were a man, no paper would ever dare question her role as a parent, papers up and down the country were labelling her as the mother who abandoned her child. Perkins delivers an emotional speech of truth and realisation when she starts to address her daughter and it was refreshing to see that she knew she was more than just a mother … she was an astronaut.

Female Parts: Shorts is a moving and outstanding look at the highs and lows women go through and deserves to be seen.

Female Parts: Shorts is playing at Hoxton Hall until the 31st March 2018.

photo credit: Sharron Wallace

Female Parts: Shorts, Hoxton Hall | Review

Friday 16 March 2018

Wednesday 14 March 2018

Birdsong (UK Tour), New Victoria Theatre | Review


Birdsong (UK Tour)
New Victoria Theatre 
Reviewed on Tuesday 13th March 2018 by Steve Willox
★★★★


This excellent performance warranted a viewing full house, however this was not to be, with only approx 150 seats occupied at Birdsong's opening in Woking.


Rachel Wagstaff has cleverly adapted Sebastian Faulks' novel Birdsong into a thought provoking play.  The play takes place mainly on the Western Front in France during World War I (1916 - 1918) but intertwines back to 1910 in Amiens where we meet Stephen Wraysford before his involvement in the war.



A well designed set allowed for the easy movement from 1910 to World War 1 to pass effortlessly. Enabling us to see, through flashbacks, Stephen's memories of the love of his life, Isabelle.  Low lighting gave a feeling of life in the trenches and also highlighted when there was an explosive moment of gun fire and shells.




A small but skilful cast, playing many different roles, brought Faulks's novel to the stage in an emotional and moving way.  Tim Treloar gives a soul-stirring performance as Jack Firebrace; eager and intense when rallying his mates whilst tunnelling under enemy lines, but  sad and emotional at the death of his son.  The rest of the cast were also adept at bringing this moving and evocative novel to the stage.



Whilst initially this may not have been our first choice of theatre viewing we are so very glad that we went.  A beautiful love story, inter weaved with the horrors of war. We would thoroughly recommend this production of Birdsong.

Birdsong runs at the New Victoria Theatre until March 17th before continuing it's tour.

Birdsong (UK Tour), New Victoria Theatre | Review

Wednesday 14 March 2018

Thursday 8 March 2018

Good Girl, Trafalgar Studios | Review


Good Girl
Trafalgar Studios
Reviewed on Wednesday 7th March 2018 by Shaun Dicks  
★★★★★

I have always had a soft spot for one person shows. I believe that it takes such skill to carry a full show on a singular pair of shoulders. Today, on International Women’s Day, I am writing about the one woman show, Good Girl. This show is everything society should be. We follow the story of GG from her informative years in the 90’s all the way into her early 30’s in 2018. We follow GG as she discovers her body, emotions and the primitive nature of humanity. This show is an uncompromising and honest story of a woman finding her way, wading through the darkness without a torch. 

The show is written and performed by Naomi Sheldon. Sheldon is a star. She is hilarious, honest and real. Her storytelling is so in depth and vivid, from her use of accents (which were perfection) to her clearly defined multiple characters, who she transitioned between seamlessly. What really strikes me in Sheldon’s work is her vulnerability, she is unafraid to show real and ugly emotions, it's truly beautiful. She says what everyone else is afraid to say when it comes to emotions and expression. 


In contrast to the catalogue of emotional expression, the show is gut-bustlingly funny. The script is littered with many a hilarious scenario and joke. Multiple times I cried with laughter. Sheldon uses music, physical theatre, accents and the wonderful words to tell a beautiful, and necessary story. In the world of theatre, which is a world of imitating reality, Naomi Sheldon’s show is the closest you will get to real. 

This show is so beautiful. It is honest and real. It is essential viewing for every woman in the world, but also every man. It gives an understanding to the human condition when it comes to emotions and discovery. The show is relatable whether you’re a man or a woman. 

Naomi Sheldon is an incredibly talented human being, an intelligent writer and actress, but also a very honest woman. From her alternative poster in the programme, where she shared hostile reactions about the show, to the plethora of emotions in the show; this show and Sheldon’s talents deserve to be recognised. I hope this show has life past its current run because everyone needs to see this.  

Good Girl runs at Trafalgar Studios until March 31st

photo credit: Felicity Crawshaw



Good Girl, Trafalgar Studios | Review

Thursday 8 March 2018

Wednesday 7 March 2018

Macbeth, National Theatre | Review


Macbeth
Olivier Theatre, National Theatre
Reviewed on Tuesday 6th March 2018 by Olivia Mitchell 
★★★

I've seen and studied a fair few Shakespeare plays but I wouldn't say I'm an expert in any form. I do however, know what I like when going to the theatre and recognise brilliant acting when I see it. The National Theatre's current production of Macbeth does have brilliant acting but overall it just didn't do it for me.

Walking into the wonderful Olivier theatre we are greeted with an almost bare stage, there are four poles with ragged, witchy fabric attached to the top; in the centre there is a sloped wooden platform decorated with severed limbs from plastic baby toys. Rae Smith's minimalistic set works well with the sparse life of the characters within the show; with them all (including Duncan and Macbeth) looking as though they're on the poverty line in muddy, battered clothes.

Rory Kinnear is thoughtful and suitably plagued as Macbeth; his small comedic moments are particularly enjoyable and he proves why he's such an esteemed actor.  


The choice to make Alana Ramsey's Murderer a fishnet tights-clad alcoholic is a great one and she works very well to show the extents which people will go to when they feel they have nothing, just to get their fix or some quick cash.

Trevor Fox's alcoholic Porter is like a ghost moving around, silently hearing all the secrets he shouldn't know. It's refreshing to see him as a more serious, important character rather than mainly being onstage for comedic relief. This darker side emphasises him as the metaphor for the gates of hell, something which I feel is often missed in productions of Macbeth.

It's Anne-Marie Duff who steals the show as Lady Macbeth. Every movement is clearly well thought out and her transition from the headstrong wife who lacks humanity to the crumbling woman plagued by ghosts is striking. 


I didn't find anything specifically wrong with this production, I just didn't really feel, well, anything. It's not scary, it's not particularly gory, it's not emotional and it's not funny, it's just a bit uninspiring. There are elements which have brought Shakespeare's play into the modern world but the emotions didn't translate for a modern audience... at least for me.

If you're a Shakespeare fan then there's no reason why you shouldn't go and judge Rufus Norris' Macbeth for yourself but if not then I wouldn't rush along, as I don't think this is the production to make you a fan.

Macbeth runs at the National Theatre until June 23rd and will be broadcast live to cinemas worldwide on May 10th as part of NT Live.

photo credit: Brinkhoff Mögenburg

Macbeth, National Theatre | Review

Wednesday 7 March 2018

Honest Lies, Etcetera Theatre | Review


Honest Lies 
Etcetera Theatre 
Reviewed on Tuesday 6th March 2018 by Shaun Dicks
★★★★

‘Amateurs do it for fun, artists do it to live.’

This is one of many quotable moments of Honest Lies. The show is a commentary of the Theatre Industry as a whole; it’s peaks, it’s troughs and everything in-between. It tells the story of Claire and Sam, a couple, who are both actors. Claire has just delivered the performance of her life, or so she thinks. When she returns home, Sam is waiting for her, and gives a very blunt opinion of her performance. We follow their night as they fight, make up, practise Shakespeare with Gummy Bears and descend into an unexpected twist.

The script written by Christopher Walthorne is flowing, frank and prophetic. The script is really well written, containing deliciously sizzling dialogue and a very well-crafted commentary on theatre. One stunning moment of commentary was delivered by Claire played by Georgie Matthews, where she gave an unapologetic monologue about the state of female roles in modern theatre and the position of women in theatre. Matthews lets the words out with a passion that is second to none; she was saying what every woman in theatre wish they could say. Matthews delivers a well-rounded performance, with a fully fleshed out and realised character. 

Sam, played by Alexander Jeremy was another wonderful performance, giving a scathing but humorous character who is a contradiction in himself. His performance is well pitched and gives a good contrast in energies in the beginning of the piece.

The Etcetera theatre is in the colourful and artistic Camden. It’s part of a great group of theatres that do a box office split, therefore supporting new and innovative new work like Honest Lies. This show has an amazing twist that surprised me in the best way possible, it is something that I have never seen before in theatre. I sincerely hope that this show has a long life ahead of it. It deserves to be seen in its limited run and taken further, onto a larger stage. If you want something different and innovative, Honest Lies is for you. Check it out and support new theatre.  

Honest Lies runs at the Etcetera Theatre until March 10th



Honest Lies, Etcetera Theatre | Review

Friday 2 March 2018

Bismillah! An Isis Tragicomedy, Vault Festival | Review


Bismillah! An Isis Tragicomedy
The Vaults
Reviewed on Thursday 1st March 2018 by Nicola Louise 
★★★★

I’ve never really been a fan of shows with a single set (or no set in this case) and two people. It always seemed a bit boring (not that it was the actors fault, the writing was just not up to scratch), so when I decided to attend Bismillah! An Isis Tragicomedy I was little apprehensive.

Currently being shown as part of The Vault Festival at Waterloo, the tunnels provide the perfect setting for what is meant to be a holding cell controlled by Isis- as you walk in and take your seat there’s already something happening. A solider is tied to a pole in the middle of the stage with a bag over his head, he’s struggling and the action begins.

Bismillah, written by Matthew Grenhough -who also plays the prisoner of Isis- is a perfect mix of comedy and true horror. The IS solider played by Elliot Liburd arrives with food and water and the show starts; conversation flows between the two soldiers and they find themselves bonding over shifts at Wetherspoons and a £4.39 meal deal at the airport.

It soon becomes clear however, that Liburd’s character has some issues with himself. As he starts to lose his temper, you can see the confidence in Grenhough’s character leave his body as he suddenly becomes a terrified little boy.

Both actors performed Grenhough's thought-provoking script well, asking the questions: How well do you really know somebody? How different are we to them? Just because the news reports one thing does it make it true?

Never before have I been gripped so much in 75 minutes watching a conversation between two people than I have seeing this show. As this show was first staged in 2015 a few things are a little out dated but still work. Even the over use of pop culture but that’s what makes this show what it is.

Bismillah! An Isis Tragicomedy is currently showing at the Vault Festival until the 4th March 2018. Get your tickets quick.

Bismillah! An Isis Tragicomedy, Vault Festival | Review

Friday 2 March 2018