Posts with the label plays
Showing posts with label plays. Show all posts
Showing posts with label plays. Show all posts
Tuesday 8 May 2018
Kinetics (Film) | Review
Kinetics (Film)
★★★★★
Sue Wylie’s stunning play, Kinetics has been adapted for film. The moving story is told through the eyes of Rose who has recently been diagnosed with Parkinson's disease. She meets Lukas, a free-runner with whom she forms an unlikely friendship. Both have a desire to move and be free and ultimately remind one another that life is worth living.
'Accept, adapt, adjust' really sums up this play in a nutshell. Not only is it a beautiful story but it raises awareness of Parkinson's a relatively unknown disease that affects around 127,000 people in the UK alone.
Lukas played by Roly Botha is a wonderful addition to the film. He adds so much movement and fluidity; a brilliant contrast to Rose. He has heaps of talent, not only acting but also free running. His story within the play is touching and the interplay between the characters really gives out a message of hope.
A special mention must go to Steve Eaton Evans who plays Mr Burton and successfully portrays an older gentleman with Parkinson's who eventually gives the best advice of the whole film.
Rose played by Sue Wylie is a wonder to see. She really does tell her story well. Her play is well worded and very powerful, while staying respectful to those suffering from Parkinson's. By telling her own story regarding her diagnosis of Parkinson's and how it affects her both in her job and personal life is simply beautiful.
I urge anyone and everyone to watch Kinetics either in film or play version as it has so much potential not only to spread awareness with Parkinson's but also as it gives the audience a wonderful feeling of hope.
Review by Isobelle Desbrow
Friday 27 April 2018
In Conversation With... Lizzie Winkler | Quiz | Interview
Quiz is one of the hottest plays on in the West End right now. Transferred from Chichester Festival Theatre, it is an immersive experience which examines the conviction of 'the coughing Major', Charles Ingram, following his appearance on Who Wants to be a Milionaire? Lizzie Winkler plays a variety of roles in the show and sat down to talk about that experience as well as who'd she's share a million pounds with...
Hi! You've had a varied career so far. What have some of your highlights been?
This!
Can you tell me a little about Quiz and your role in it?
I play the most characters, ranging from real people Claudia Rosencrantz (Head of light entertainment for ITV), Ruth Settle (Head of Marketing for the show) Alyn Morris (cough doctor) to characters whose names I've been allowed to make up, police officer (PC Jill Salmon) attractive assistants (Denise Body and Kirsty Sparkle) Pregnant Juror (Alison De Winter) Court Stenographer (Linda Bland) I really enjoy creating characters' back stories and histories even if they don't have lines.
What do you think people will be saying as they leave the theatre after experiencing Quiz?
"What did you vote?". "Do you think they are innocent?" and hopefully "that was amazing "
Can you sum up the play in five words?
Entertaining, interactive, thought-provoking, political, human.
What has your favourite immersive/interactive theatrical experience been?
All the Punchdrunk shows.
If you won Who Wants to Be a Millionaire? who would you share your money with?
Whoever asked the nicest.
If you had a magic wand, which show would you do next?
I write television comedy, with Emma Jerrold I would get one of our shows commissioned and be in it.
Finally, what's your number one piece of advice for aspiring performers?
Be yourself and work hard!
Thank you so much Lizzie for taking the time to do this interview. Quiz runs at the Noel Coward Theatre until 16th June.
Interview by Editor, Olivia Mitchell
Friday 13 April 2018
The Mousetrap, St Martins Theatre | Review
The Mousetrap
St Martins Theatre
Reviewed on Thursday 12th April 2018 by Shaun Dicks
★★★★
The Mousetrap at the St Martins Theatre has been a staple of the West End for many years. Sixty years in fact, making it the longest running show in the world. As we were told at the beginning of the night’s performance ‘Not bad for a show that Agatha Christie hoped would have a nice little eight month run’. Agatha Christie and her works are a pillar of English literature and was a true trailblazer of the ‘Who Dunnit?’. The 12th April 2018 was its 60th anniversary gala, celebrating the prestige and longevity that all shows dream of.
The plot of the show is simple enough, eight seemingly random people of all different backgrounds and histories come together to a guest house, one being a police officer trying to crack the latest high-profile murder case that could involve those staying there. But with heavy snow falling and no communication to the outside, the games begin. There is another murder in the guest house, and it’s anyone’s guess who committed the crime.
The Mousetrap takes you back to a different era, where the pioneering technology is the ‘Wireless’, today known to us as a radio, where there are no televisions or mobile phones; where seclusion really meant seclusion. The show is very much a delight, the first half was full of rich language, situational humour and a wonderful classic aesthetic. It’s wonderful to be immersed in such a stylised and all-encompassing world. The second half was equally inclusive of all these qualities, but as the investigation broke down and we got to the gritty part of the story, it felt a little bit clunky; a minor flaw in an otherwise wonderful night of entertainment.
It is a wonderful feat to become the longest running show ever, and it adds to the already glittering prestige of Agatha Christie. It’s a wonderful night of classic British entertainment. Do you want to know who dunnit? Go down to the St Martins theatre to find out.
The Comedy About a Bank Robbery, Criterion Theatre | Review
The Comedy About a Bank Robbery
Criterion Theatre
Reviewed on Thursday 12th April 2018 by Emma Gradwell
★★★
Written by Mischief Theatre founders Henry Lewis, Jonathan Sayer and Henry Shields, The Comedy About a Bank Robbery gives you a grouping of incompetent thieves as they try to steal a rare diamond from Minneapolis City Bank during the summer of 1958 – very much a homage to American screwball cops and robbers comedies. The play begins with escaping convicts and corrupt Prison Guards plotting the heist. The tone is set from the start that this is very much a modern farce, with “Naked Gun” style misheard and misinterpreted words and phrases.
The farcical plot concerns a dubious banker by the name of Robin Freeboys (played by Leonard Cook) whose name produces many comic moments when misheard as “robbing three boys”, inexplicably being entrusted with a rare diamond owned by a Hungarian Prince. The mantra from the start is that everyone in this town is a crook of which we are often reminded by Mr. Freeboys underpaid but very smart receptionist, Ruth Monaghan (gloriously played by Jenna Augen). You have to keep watching to the end to find out who finally bags the jewel.
Aggressive and gruff prison escapee Mitch Ruscitti (played by Matt Hunt) returns home to his beautiful but tricky girlfriend Caprice (played by Holly Sumpton) who happens to be the daughter of Mr. Freeboys. Caprice is entertaining loveable petty criminal Sam (played by Sam Fogell) that she met at the bank, he also happens to be the son of bank employee Ruth. What follows is an impeccably timed scene involving concealing Sam all around a malfunctioning mechanical bed ending with him assuming the identity of Robin Freeboys with a ridiculous disguise made up of household objects.
The story continues with obvious visual and verbal gags coming thick and fast. The sporadic doo wop musical interludes are cute and beautifully done. One of the highlights is a scene in the bank set at a perilous 90 degree angle to obtain a birds eye view from the banks vents system where the crooks are attempting to get to the vaults. Ageing intern Warren Slax (gamely played by Peter McGovern) is anchored by a safety harness as he tries to manoeuvre his way around the “office” while carrying out menial tasks for the demanding Mr. Freeboys. It is very hard to pour a coffee when gravity is not defied.
A special mention needs to go to Chris Leask who marvellously plays “Everyone Else” in the play. His facial expressions alone had the audience roaring with laughter. A three way fight between Caprice’s unwitting lovers ensues. The lovers are a hillbilly, a decrepit nursing home resident and an angry German. Playing all three parts and being on the giving and receiving end of the punches is no mean feat. Wonderfully performed and slickly directed.
The jokes do become repetitive and are not really very clever. If it’s an evening of high-brow culture you are after then this definitely is not the show for you but if you want to just sit back and watch a bit of silliness then this will tick the right boxes.
Photo credit: Robert Workman
Thursday 12 April 2018
Quiz, Noel Coward Theatre | Review
Quiz
Noel Coward Theatre
Reviewed on Wednesday 11th April 2018 by Shaun Dicks
★★★★
‘In a world that is so confusing, I like to know there is a right and a wrong.’
Blurring the lines, nothing is ever black and white anymore, it is forever a shade of grey; Quiz is a show that reflects that sentiment fully. We are at the Noel Coward theatre, a venue steeped in prestige and history. It plays host to many an iconic show. Quiz, being a transfer from the Chichester Festival Theatre, comes from a long line of excellent shows and is penned by a writer (James Graham) who is on a streak of West End transfers. This show has all the initial components to be a great show, and I believe, it lives up to all its potential.
This show is all about an infamous scandal of the early noughties, cheating to win a million pounds on ‘Who Wants to be a Millionaire?’. In this retelling of infamous events, we follow multiple narratives, all following the people involved in this scandal, all leading to the main narrative, the courtroom, where the suspects are put to trial, we as an audience act as their jury. The show is of two halves, the first act is the prosecution, which is well presented by Paul Bazley (Nicholas Hilliard QC), with the second act being the defence, well presented by Sarah Woodward (Sonia Woodley QC).
The show is presented in a slick, poignant, and often humorous manner. The humour is a particular highlight, with the inclusion of a hilarious warm up act (Kier Charles) who created a community in the audience, and the use of spoofs throughout, there is a light-hearted element to this dark complex narrative. My highlight for this show was Kier Charles as Chris Tarrant, his mannerisms and facial expressions were absolute perfection, Charles must have studied Tarrant for a long time because it was absolutely on point. Charles is a comedic genius.
Despite its humorous side, this show is very psychoanalytical, it plays with your thought process through the ideas of circumstantial evidence, distorted evidence and fake news. It creates a grey area on what is True and what is False, and therefore creates a social relevance and poignancy, as well as an empathy for the accused. This show is a slow build drama, but that is how the tension is kept high.
Quiz as a show is brilliant, it lives up to it's potential and delivers a great night of entertainment, with a few messages placed throughout. It makes you laugh, it makes you think and it makes you question. That is what all shows should aim for. I highly recommend this show, phone a friend and watch it together.
Quiz runs at the Noel Coward Theatre until 16th June
Thursday 5 April 2018
The Country Wife, Southwark Playhouse | Review
The Country Wife
Southwark Playhouse
Reviewed on Thursday 5th April 2018 by Olivia Mitchell
★★★
Set in 1920s London, a time when scandal, drugs and debauchery were rife, The Country Wife tells the story of Harry Horner who poses as a eunuch in order to sleep with men's wives without suspicion. He meets Margery the, innocent, young country wife of Pinchwife, when she visits London. Pinchwife desperate to keep her chained to him soon loses her to the fun of the bright young things society as her eyes are opened to the ways of the town people and she beings a search to find what makes her happy instead of her loveless marriage. Alithea, Pinchwifes’ sister, is due to marry Sparkish (for social and financial convenience) but when she meets Frank Harcourt who pursues her and offers her the possibility of a happy relationship we see her struggle against what is 'right' and what she wants.
At the time of it's first productions, Wycherley's 1675 comedy was notorious and although it's not as shocking and 'socially-unacceptable' to watch a play about sexual misconduct now, it's amazing how resonant the themes are. With desires, the role of women and more being cleverly brought to life by Morphic Graffiti (designer Stewart Charlesworth and director Luke Fredericks).
Events take place in a number of different locations such as the bedrooms, The Savoy and elegant drawing rooms. The transitions between these are outstanding. Sharp 20s Charleston steps are accompanied by Postmodern Jukebox-esque renditions of songs including Stacy's Mom and Girl's Just Wanna Have Fun as the characters smoothly move the set pieces and props into place. This is a delightful and seamless way to transition as well as to show some of the raucous parties that aren't shown in the actual show itself and also helps keep the action moving.
Something great about this production is that misogyny is avoided by having the women be very self aware of themselves- they know their worth and are willing to do what they want to have somewhat fulfilled lives. In fact, the women are the people who drive the show.
Whilst the play is roaringly funny for the most part, there are times when the switch from humour to seriousness feel too sudden and scenes happen at lightning speed so it's hard to keep up with what's going on.
The cast are very strong, with Siubhan Harrison as the subtle but biting Alithea, Nancy Sullivan as the hilarious, lively Margery and Joshua Hill as the drugged up wingman are stand-outs.
The Country Wife is a little long and felt arduous to watch at times, especially in the first half, but the conversation between the 1920s and modernity and the clever use of humour and staging make it a fun night out at the theatre.
The Country Wife is a little long and felt arduous to watch at times, especially in the first half, but the conversation between the 1920s and modernity and the clever use of humour and staging make it a fun night out at the theatre.
The Country Wife runs at Southwark Playhouse until 21 April
photo credit: Darren Bell
Wednesday 4 April 2018
The Case of the Frightened Lady (UK Tour), New Victoria Theatre | Review
The Case of the Frightened Lady (UK Tour)
New Victoria Theatre
Reviewed on Friday 20th October 2017 by Melanie Mitchell
★★★
The Case of the Frightened Lady is the second production by Bill Kenwright's Classic Thriller production company. Originally written by Edgar Wallace the play is a new adaptation by Anthony Lampard. It is directed by Roy Marsden whom you may know as televisions Inspector Dalgliesh.
This classic whodunnit is set in 1932, the story takes place in the Baronial hall of Marks Priory, the ancestral home of the Lebanon family. Beautifully created by set designer Julie Godfrey. The opening scene begins with a fancy-dress party, where we are gradually introduced to the characters. It is at the party a horrifying murder takes place, putting everyone under suspicion.
When Detective Inspector Tanner, played by Gray O’Brien, probably best known as Tony Gordon in Coronation Street, is bought in to investigate the crime he soon realises that things are not what they seem. Along with his assistant Detective Sargeant Totti, Charlie Clements, of Eastenders fame, they begin to uncover a closely guarded secret.
Rula Lenska is well cast as Lady Lebanon, a mother obsessed with marrying her son Lord Lebanon, played by Ben Nealon to his cousin Isla Crane. This is to be a marriage of convenience, not wanted by either party but purely to fulfil Lady Lebanon’s wish for a son and heir to carry on the Lebanon title. Miss Lenska plays the part with an aristocratic haughtiness, whilst April Pearson is very believable as her terrified niece and secretary Isla.
Adding to the suspicious goings on are Denis Lill as the horribly lecherous family physician Dr Amersham with Glenn Carter and Callum Coates as Gilder and Brook, 2 rather sinister footman.
I felt that the first act was rather slow and although we were introduced to the various characters, apart from the murder not very much happened. I certainly wasn’t on the edge of my seat.
However, the second half picked up pace as the story unravelled and secrets were revealed. The plot was full of red herrings, with almost everyone a suspect. I for one didn’t solve the case until very near the end, which added to the enjoyment.
Don’t expect to be scared witless by this production although there were several very unexpected claps of thunder and gunshots, with sound by Dan Samson, that alongside some clever lighting effects, by Chris Davey, certainly made me and many other audience members jump out of their seats.
If you like a good old fashioned whodunnit then this is definitely a show for you.
The Case of the Frightened Lady runs until Saturday 7th April 2018 at the New Victoria Woking.
In Conversation With... Siubhan Harrison | The Country Wife | Interview
Siubhan Harrison stars as Alithea in the 1920s play, The Country Wife which opens tonight at the Southwark Playhouse. Siubhan told me about her role in the show, the 20s world, audience reactions and more...
Can you explain a little about The Country Wife and how your character Alithea fits into it?
The Country Wife is about a society of sexual liberation where Harry Horner poses as a eunuch in front of men in order to sleep with their wives without suspicion! He meets Margery the young beautiful country wife of Pinchwife, when she comes to London, we soon see Pinchwife lose her to the fun of the bright young things society as her eyes are opened to how town people conduct their relationships and searches for what makes her happy instead of her constricting loveless marriage. Alithea is Pinchwifes’ sister, who is due to marry Sparkish for what we suspect may be financial and social convenience for the pair of them but when she meets his friend Frank Harcourt who pursues her and offers her the possibility of happiness we see her turmoil.
What attracted you to the role of Alithea? Are you alike at all?
Alithea is fabulous, cutting, searing honesty and an absolute hostess, the image of the 1920s glamour girl! I wish I was like her... in real life I’m very clumsy and geeky!
How has it been immersing yourself into the 20s world? What do you enjoy the most?
1920s is so much fun, pretending to be a bright young thing has been a hedonistic, liberating party!
What do you think people will be saying and feeling as they leave the theatre after seeing the show?
Hopefully they’ll laugh, it’s amazing how a play written over 340 years ago can still be so accessible, the language and humour is brilliant!!! The era is so evocative and sexy!
Can you sun up the show in 5 words?
Debauched, funny, liberating, hedonistic, glamorous
If you had a magic wand, which show would you do next?
A spy film! Or a Pinter play
What's your best piece of advice for aspiring performers?
Be playful, be brave!
Massive thanks to Siubhan for taking the time to do this interview. The Country Wife runs at the Southwark Playhouse until 21st April .
Interview by Editor, Olivia Mitchell
Massive thanks to Siubhan for taking the time to do this interview. The Country Wife runs at the Southwark Playhouse until 21st April .
Interview by Editor, Olivia Mitchell
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.
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.
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.
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.
Thursday 22 March 2018
Misty, Bush Theatre | Review
Misty
Bush Theatre
Reviewed on Wednesday 21st March 2018 by Shaun Dicks
★★★★★
Arinzé Kene is a star on the rise. Playwright and Actor, he has endless noteworthy credits. Tonight’s viewing is Misty, written by and starring Kene. Misty is a show of two stories; the first being a story of a young man, travelling on the night bus in London, who makes a bad decision before unravelling. We follow him as events unfold. The second story is led not by a character but Kene the person. It follows his process of creating this show and all the negativity and hardship that he faced while doing it.
Firstly, Kene as a writer is outstanding. The script is fantastically interwoven with its dual narrative; the structuring and execution is positively breath-taking. This script is a masterpiece and a masterclass in how to create an effective, powerful and colourful script. Kene has found the right balance of intense, thought provoking and politically/racially charged material and mixing it with great wit and humour. There is an elegance in the script that is rare, the imagery is so vivid and clear- it is beautiful.
Kene as a performer is enthralling and captivating. He is a scintillating storyteller, with a presence second to none. Underscored by brilliant music, everything he delivered was real, honest and intense. The performance was outstanding, creating a very stirring and thought-provoking show. Everything is so well rounded, so complete, and incorporates multiple storytelling devices so effectively, that it becomes a show that needs to be seen, heard and enjoyed by everyone and anyone.
It is a show that needs recognition from the higher ups in awards. It needs thrusting in front of decision makers in Parliament. It is a show that legitimises itself and gives visibility to unrepresented issues.
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 runs at the Bush Theatre until April 21st.
Read Shaun's other reviews here.
photo credit: Helen Murray
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