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

Tuesday 26 February 2019

Abigail's Party (UK Tour), New Victoria Theatre | Review


Abigail's Party (UK Tour)
New Victoria Theatre 
Reviewed on Monday 25th February 2019 by Melanie Mitchell 
★★★★

I am old enough to have seen the original televised play for today of Mike Leigh’s Abigail’s Party in 1977 and have loved it ever since. Therefore, I was really looking forward to seeing Sarah Esdaile’s adaptation of this iconic piece and I wasn’t disappointed.

As we entered the theatre we were greeted by the most amazing set where we can take a somewhat voyeuristic view through the windows of a typical suburban house of the seventies. 

We watch as Beverly, played superbly by Jodie Prenger, flits in and out, preparing for her Party, switching on the fibre optic lamp, opening the drinks cabinet and laying out that most ubiquitous of party foods, the cheese and pineapple hedgehog. 

Beverly has invited new neighbours Angela & Tony for drinks, also inviting Sue, as her teenage daughter Abigail is having a party. The play centres around these 5 characters and their complicated relationships. Beverly and her husband Laurence who have enormous marital problems, The mousey downtrodden Angela and her monosyllabic husband Tony and Sue the timid, socially inept divorcee. 

As the drinks flow, whether the guests want them or not, the tensions rise between the partners and the group. The underlying problems begin to emerge and escalate to the 70’s sounds of Donna Summer and Demis Roussos. 

The play portrays the era perfectly, tapping in to the social climbing, aspirational working class often associated with the 1970’s. 

In the original show, Beverly is played by the amazing Alison Steadman, who created the voice of Beverly. I think that Anyone who has seen the original will agree that this is one of the most important and fundamental facets of this character. I was slightly apprehensive as to how another actor would carry this off. I needn’t have worried, as from the minute Jodie Prenger spoke, she was Beverly. From her flowing psychedelic dress and cleavage to her cutting and withering remarks to Laurence, fabulous performance. 


The other characters were also played brilliantly, Vicky Binns is great as the mousey, impressionable and excitable Angela. Alongside Calum Callaghan as Tony her monosyllabic husband simmering with underlying aggression. Daniel Casey gives a super performance as Laurence, the socially mobile estate agent desperate to show that he does have class. Rose Keegan is perfectly cast as Sue, she was totally believable as she squirmed uncomfortably at the others behaviour. 

As previously mentioned, the set, lighting and sound design are wonderful, I was immediately transported back to the 70’s, with the orange and brown décor, the party food and the music. Not a single item of detail was missing from that room. 

Mike Leigh's original production has certainly stood the test of time with themes in the play as relevant today as they were 40 years ago. 

This tragicomedy has laugh out loud moments tinged with both pathos and sadness. It is a wonderful evening out to the most uncomfortable party you may ever attend.

Abigail's Party runs at the New Victoria Theatre until March 2nd 2019 before continuing it's tour

photo credit: Manuel Harlan

Abigail's Party (UK Tour), New Victoria Theatre | Review

Tuesday 26 February 2019

Saturday 23 February 2019

Jesus Hopped The 'A' Train, Young Vic | Review


Jesus Hopped The 'A' Train
Young Vic 
Reviewed on Friday 22nd February 2019 by Olivia Mitchell 
★★★★

Originally directed by Philip Seymour Hoffman and performed by LABrynth Theatre Company, Stephen Adly Guirgis' Olivier-nominated Jesus Hopped the 'A' Train, returns to London in a striking revival directed by Kate Hewitt.

Set for the most part in Rikers prison, New York, Jesus Hopped the 'A' Train is an intellectual and depth filled examination of justice, faith and redemption. Kate's direction does the perfect job of revealing both the desperation and life found in Guirgis' script, and brings it force in a sharp, to the point way.

The majority of the story is made up from pacy back and forth conversations between multi-murderer Lucius Jenkins (Oberon K. A. Adjepong) who is living his last few weeks before his death sentence, and young man, Angel Cruz (Ukweli Roach) who is battling a charge of first degree murder for shoot and evangelist who he believed was brain washing his friends. These conversations are intense and full of information. The pair debate their sentences, their actions in life and religion with an electricity that never ceases. Angel's attorney Mary Jane (Dervla Kirwan) addresses Angel and the audience as she narrates the story and tells us her part in the trial.  


The contradictions between the characters make lines unsettlingly blurred and its particularly ambiguous who's side the audience should be on. Joplin Sibtain as Valdez acts at times as a moral compass, and through his intense anger and lack of care for the prisoners, reminds us that they are murderers; but at other times, his lack of sympathy purely highlights failures in the American prison system and we again feels for the incarcerated men. This back and forth of the audience questioning morality, is a testament to Guirgis' outstanding writing as well as Magda Willi's long stage which brings these emotions to life in front of us. Glass frames move up and down the stage to show both physical and mental confinement and the clear glass allows us to look straight at the characters and feel as though we're seeing aspects that should be hidden. This brightness and clarity leads to a desire for exploration.

Perhaps the character who embodies self-questioning the most, is Charlie (Matthew Douglas) who at the start is an ally to Lucius but returns at the end to give a particularly moving monologue about how his initial views of the man, were clouded by his final view of him at his execution.

Everything about this production makes you want to ask questions and certainly doesn't leave you with an answer. From the impossibly loud scene transitions to the peaceful feeling when Mary Jane seems to be asking the audience for guidance, we are continually reminded of the balance between good and evil, and justice and repentance. Jesus Hopped the 'A' Train is riveting and engrossing from start to finish and spits energy in your mind, even after you've left the theatre.

photo credit: Johan Persson

Jesus Hopped The 'A' Train, Young Vic | Review

Saturday 23 February 2019

Friday 15 February 2019

Peter Pan Goes Wrong, Sydney Lyric Theatre | Review


Peter Pan Goes Wrong
Sydney Lyric Theatre 
Reviewed on Wednesday 13th February 2019 by Amy Mitchell 
★★★★

Peter Pan Goes Wrong is a theatrical disaster panto crammed with slapstick calamities and magic misadventures. The production is framed around the JM Barrie classic and follows the formula that delighted past audiences with The Play That Goes Wrong, from the same creators Mischief Worldwide Theatre Company. 

We’re introduced to a fictional and farcical troupe of amateur dramatists come outright nincompoops and their hapless attempt at putting on a play of Peter Pan. The scene is set on a revolving stage encompassing the Darling’s nursery, Neverland, the lagoon and a pirate ship. From the opening scene pandemonium explodes with absurd tomfoolery and monstrous malfunctions - lines are fluffed up, there are trips and falls galore, bunk-beds collapse, infidelities are exposed, stage-hands and props go rogue, Captain Hook has a minor emotional breakdown, Peter is concussed and Tinkerbell almost snuffs it. 

A wildly energetic ensemble cast with brilliant comic timing have the audience chortling at the relentless abundance of frantic visual comedy, corny gags and quick change disasters. Where it’s light on musical numbers (although one will have you toe tapping home) it’s brimming with exuberant physical wit. 


The cast are multi-task magicians, with stand-out performances from Tammy Weller jumping hysterically between housekeeper Liza, Mary Darling, Tiger-Lily and Tinkerbell and Jordan Prosser flitting between 4 year old Michael Darling (complete with baby pink pyjamas), desperate but loveable Max and unwitting underdog hero, the crocodile. Francine Cain triumphs with an over-acted shimmy-athon as Sandra and Wendy Darling and Connor Crawford’s patriarchal parodies as the director, Daddy Darling and Captain Hook are wonderful. 

With only a smattering of surprises, the audience could anticipate the choreographed mayhem before it happened, and while the repetition stifled a few extra laughs, you’d be hard pressed not to maintain a delighted grin throughout at the playful and precise absurdity of it all. 

Peter Pan Goes Wrong runs at the Sydney Lyric Theatre until 3rd March 2019

photo credit: David Watson



Peter Pan Goes Wrong, Sydney Lyric Theatre | Review

Friday 15 February 2019

Saturday 8 December 2018

Nine Night, Trafalgar Studios | Review


Nine Night 
Trafalgar Studios 1 
Reviewed on Friday 7th December 2018 by Olivia Mitchell 
★★★★★

Natasha Gordon has become the first living black female writer to have a play in the West End, and what a beautiful, moving play it is. Nine Night follows a Jamaican family as they mourn family matriarch, Gloria, and discover things about themselves, their relationships and grief. 

The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.

Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.


It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.

This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more. 

photo credit: Helen Murray

Nine Night, Trafalgar Studios | Review

Saturday 8 December 2018

Tuesday 20 November 2018

Benidorm Live (UK Tour), Bristol Hippodrome | Review


Benidorm (UK Tour)
Bristol Hippodrome 

Reviewed on Monday 19th November 2018 by Emma Gradwell
★★★★


After ten years on our television screens, the long running sitcom Benidorm has found a new home on stage as a national touring production. Written by Derren Litten, the result is a mix of familiar storylines and musical interludes which give us two hours of uncomplicated silliness. The show is largely driven by double entendres and the saucy seaside humour you will have come to expect. 

The show is led by six familiar actors from the television cast and the audience were very pleased to see them, with huge cheers to be heard as they appeared on stage for the first time. The storyline works for both fans of the original show and new audiences. 

Two middle class holidaymakers, Sophie and Ben (played by Tricia Adele-Turner and Bradley Clarkson), find themselves at the 3½ star all-inclusive hotel, The Solana, when their original hotel is overbooked – and they are not impressed. Bribery and seduction are the obvious answer when Hotel Manager Joyce Temple-Savage (Sherrie Hewson) decides they must be undercover hotel inspectors tasked with shutting them down. 



Jacqueline (Janine Duvitski), a member of the Swingers Association, and her very open-minded friend, ‘Gay Derek’ (Damian Williams), baffle the newcomers with their friendly charms. Duvitski is a master comedienne – and Jacqueline’s rendition of “Rubber Ball” at Karaoke Night is one of the shows highlights. There were even a few nods to Jacqueline’s late husband, Donald, and his penchant for their alternative lifestyle, which fortunately for us, Jacqueline is still thoroughly enjoying as a singleton. 

Adam Gillen’s Liam is as quirky and naïve as he is on screen, and his continued devotion to his absent father, Leslie, and his Solana family are charming. Tony Maudsley as Kenneth, owner of the on-site hair and beauty salon, ‘Blow and Go’, gives a slick comedic performance. His naughty slogan t-shirts are in full force, my favourite being ‘Mince, Wince, Repeat’. 

Stellar dance moves are provided by Jake Canuso (a former dancer) as barman and lothario, Mateo, and new staff member, Ricky (Will Jennings). Shelley Longworth as Travel Rep, Sam provides cabaret at Neptune’s Nightclub alongside Neptune’s own crooner, Asa Elliott, belting out some favourite holiday tunes. What was lacking was a live band, which for a production of this size was disappointing. 



The clever set design by Mark Walters took us from reception to poolside via the Salon and eventually to Neptune’s Nightclub for the second half. Director Ed Curtis pulls it all together seamlessly and at two hours, five minutes it doesn’t outstay its welcome. 

Benidorm Live is cheesy, camp and refreshingly unpolitical, and I came away still chuckling about Jacqueline’s pink pussy and the sausage in cider.


Benidorm Live runs at the Bristol Hippodrome until  24th November, before continuing its tour.

photo credit: Paul Coltas 


Benidorm Live (UK Tour), Bristol Hippodrome | Review

Tuesday 20 November 2018

Friday 9 November 2018

Lands, Bush Theatre | Review


Lands 
Bush Theatre
Reviewed on Thursday 8th November 2018 by Shaun Dicks
★★★★

Absurd. Absurd is a multifaceted word. It’s volatile, malleable and powerful. Absurd is the word to describe Lands. Produced by the incredible company Antler, Lands is a story of two women, puzzles and a trampoline. We follow their story as one tries to finish their puzzle, while the other tries to give up their addiction. This show is very metaphorical, conceptual and symbolic. You’re in for a ride. 

The shows main strength is its humour. The scripted humour throughout this entire piece is brilliant, the use of situational, physical and verbal humour is so perfectly pitched that it’ll make you snort. But not just snort, but loud and ugly snort. You’ll cry because you’re laughing so much. You’ll laugh so much it’ll hurt.
 

Mainly, this is because of the wonderful leads: Leah Brotherhead as Leah and Sophie Steer as Sophie. They are a wonderful duo, who are great together. They know how to play and bounce off each other and both look like they are having fun together on stage. They interact well with the audience and their stage manager Rachel Darwood throughout. My favourite thing about them was when they were silent. They use silence perfectly. They aren’t afraid to use it. 

The direction of this piece by Jaz Woodcock-Stewart is very well done and evident throughout the piece. The set design by Charlotte Espiner is interesting, extremely industrial and cold. The lighting design by Rajiv Pattani is simple and subtle but well presented and constructed. And the use of sound is another highlight, specifically the song choices dotted throughout. My favourite moment in the entire show is a certain dance break. Try and make the connection. 

Lands by Antler is a show where you need an open mind. It’s barmy, bonkers and brilliant. It’s just absurd on so many levels. So, you have to go watch it! Do yourself a favour and go laugh for 80 minutes, because you will at Lands

Lands runs at the Bush Theatre until December 8th 2018

photo credit: Helen Murray

Lands, Bush Theatre | Review

Friday 9 November 2018

Saturday 3 November 2018

The Funeral Director, Southwark Playhouse | Review


The Funeral Director 
Southwark Playhouse
Reviewed on Friday 2nd November 2018 by Shaun Dicks
★★★★★

“We all need to be brave, otherwise nothing will change.” 

The illustrious Papatango writing prize is now in its excellent ninth year. It’s brought to light some wonderful pieces of work like Tomcat by James Rushbrook and Trestle by Stewart Pringle. This year it is The Funeral Director by Iman Qureshi

Here we follow the story of Ayesha, a Muslim funeral director who gets a client that forces her to confront a secret she wasn’t ready to face, one she was ready to take to the grave. Here we confront Gender, Religion and Sexuality. Hotbeds of discussion and dissection. Here we need to be brave together. 

Iman Qureshi's script is pitch perfect. The dialogue is slick, tight and meaningful. There is a wonderful balance of humour, poignancy and seriousness. The humour is a highlight, as it is all culturally relevant and well thought out. The direction by Hannah Hauer-King is perfection. Also, the set, lighting and sound design by Amy Jane Cook, Jack Weir and Max Pappenheim is flawless and compliments one another. 


The best part of the show though is the people that bring it to life. Every actor, Aryana Ramkhalawon (Ayesha), Maanuv Thiara (Zeyd), Tom Morley (Tom) and Jessica Clark (Janey) present such well thought out and multi-dimensional characters. They each play their part in a very affecting story. But the star of the show is Clark as Janey. Clark is an absolute force. Her freedom on stage is refreshing. Her comedic timing is just brilliant, but her skill shown when having to present tender moments is astounding. 

The crowning glory of this show is the story. It’s poignant, affecting and necessary. The crossing of gender, religion and sexuality is a very hot topic in modern times. When tackling them it is hard to pitch it right. The Funeral Director pitches it perfectly. There are a few scenes that just hit you. They strike you with a message and emotion. They are worth the ticket price alone. Everything else is just a bonus. 

The Funeral Director runs at the Southwark Playhouse until 24th November 2018

photo credit: The Other Richard

The Funeral Director, Southwark Playhouse | Review

Saturday 3 November 2018

Friday 26 October 2018

Macbeth, Barbican Centre | Review


Macbeth

Barbican Centre
Reviewed on Thursday 25th October 2018 by Jake C Macpherson
★★★★

Having never experienced Shakespeare live before, but going into the RSC’s production of Macbeth knowledgeable in the complete story I was apprehensive in how it would be adapted and whether it would be brought up to date for a contemporary audience.

The production opens with the appearance of the witches - not typically imagined. Three young girls in matching red dresses. All of the witches are seen throughout in unusual and unpredicted parts of the play, but all play a vital part in delivering the horror thriller movie vibe that I believe designer Fly Davis and director Polly Findlay have envisioned. 

The set designed by Fly Davis was reimagined and interpreted to structure the psychological and mental aspect that was heavily heightened throughout the piece. The carpet was cleverly used on most of the stage to make the link of waiting rooms, quietness and rooms of power. 


Christopher Eccleston delivers a fresh and vulnerable Macbeth, one who is not afraid of the tasks he must achieve but is afraid of the hunger for power Lady Macbeth holds. Niamh Cusack is a strong-willed Lady Macbeth whose intentions are very clear from the outset. Cusack begins her character journey at a peak that only keeps on rising throughout. 

The Porter (Michael Hodgson)- eerily cemented at the back of the stage, intensifies the element of the psychological trauma Macbeth and Lady Macbeth are going through. For every death that takes place, a tally is struck against the black chalkboard at the back of the stage. Visually this works well. Hodgson is also able to captivate the audience and add some humour to the play which helps break up the trauma of it. 

After the death of Duncan (David Acton) an oversized LED timer begins to countdown from the centre of the stage; representing the fate that is yet to come and the fall of Macbeth and everything around him in such a short space of time. Although I found this element a little distracting at points, I feel that the time element did add another level of interest and eeriness to the show.


However, after the intense build up to the end climax I found that it didn’t really go anywhere. The timer strikes zero mid fight and Macbeth is quickly killed, it gave the clear impression that it had been rushed and made me wonder whether the timer could have been re-worked. It added to the piece as a whole but left me leaving wondering whether it was worth it. 

Overall it is a beautiful re-telling of Macbeth, keeping true to the script but taking a twist on a unique element. Macbeth at the Barbican is not to be missed. 

Macbeth runs at the Barbican until 18th January 2019.

For tickets and information about the show, visit https://www.londonboxoffice.co.uk



Macbeth, Barbican Centre | Review

Friday 26 October 2018

Tuesday 7 August 2018

Silk Road (How To Buy Drugs Online), Trafalgar Studios | Review


Silk Road 
Trafalgar Studios
Reviewed on Tuesday 7th August 2018 by Shaun Dicks
★★★★

Technology. Drugs. The Silk Road. We find ourselves in an age where reliance is at an all-time high. What do we rely on? Things to change the reality of our situation. Technology, where we can hide who we really are behind a cyber persona that we create. Drugs, to take us to an altered reality so that our actual reality is suspended. Silk Road follows a young man, one that believes that there is more to be learnt than what you are told. A young man that starts as a drug user but becomes a dealer. He discovers the Silk Road and learns more than he bargains for, taking him through a line of events that shows you a world you wouldn’t believe unless you saw. 

The show is led by Josh Barrow who plays Bruce, who is chaotic, immature but charmingly endearing. He has a beautiful love for his Nan (as we all do) and is a lad who just wants to belong and feel love. Barrow is an interesting performer, as he presented a nice balance of light and shade in his role. 

Barrow stumbled a few times throughout the show, I would attribute that to nerves of a young performer. But the multi-rolling that he does is impeccable. The timing of jokes in various characters were great and gave quite a few hearty belly laughs. But he also counterbalanced the humour with moments of severe seriousness when required. What really impressed were the moments of tenderness. These were very endearing moments, humanising Bruce, making him the young lad that he was. 


With addressing such a volatile subject like drugs, the storytelling was bashful, unapologetic and frank. Alex Oates does a terrific job in delivering a compact, effective and stellar one hour script. The through line tells a complete, complex and interesting story, culminating in an ending that is foreshadowed but has an interesting surprise for the audience. 

Silk Road isn’t the best one person show I’ve ever seen, but it isn’t the worst. It’s an interesting take on a taboo subject, presented in very real circumstances. It brings up a conversation worth having and certainly feeds your curiosity. It’s well constructed and equally well presented. The show is a little different, which is a good thing. We all need something different occasionally. Follow the Silk Road to an altered reality so you don’t have to face yours for an hour. 

Silk Road runs at Trafalgar Studios until

photo credit: Nick Rutter

Silk Road (How To Buy Drugs Online), Trafalgar Studios | Review

Tuesday 7 August 2018

Saturday 4 August 2018

Horrible Histories: Barmy Britain Part Four, Apollo Theatre | Review


Horrible Histories: Barmy Britain Part Four
Apollo Theatre
Reviewed on Friday 3rd August 2018 by Olivia Mitchell 
★★★★★

As we exited the the Apollo theatre after spending 70 minutes with historical figures from Britain's history, a young boy exclaimed "That was soooooo exciting!", and he was correct! As with the hit television show and series of exceptionally successful books, Horrible Histories manages to turn historical lessons into hilarious, memorable events which have you howling and learning in equal measure.

Written and directed by Neal Foster, Horrible Histories: Barmy Britain Part Four takes us through some of the most well-known and random events in British history with the typical Horrible Histories style of slapstick comedy, humourous songs and a little dose of audience participation. 

A man of many talents, Neal is also the manager of the Birmingham Stage Company and one half of the duo who bring this show to life. Joined by Anthony Spargo (Roger) the two bring spades of energy and enough facial expressions to last a lifetime. Bouncing off of each other and looking as though they're genuinely having a great time on stage, the pair are perfect at entertaining without being ridiculous.


Barmy Britain is what you expect it to be... but better! There's really nothing you can complain about. It provides everything you could wish for, brings a genuine smile to your face and is children's theatre of the highest degree. It's also wonderful how affordable the show is for families, with tickets from £13 and merchandise ranging between £1-£6 it's a perfect summer treat.

Whilst my mum and I are definitely not the target audience for this show, we certainly enjoyed it the same amount as the children who filled the theatre. Not only does the humour of the show have you invested but the gasps and laughter from enthralled children can't help but bring a smile to your face. Barmy Britain is definitely fun for all ages and is the ideal way to spend a summer afternoon- plus you'll learn some facts about our country which you may never have heard before!

Horrible Histories: Barmy Britain Part Four runs at the Apollo Theatre until September 1st.

photo credit: Mark Douet

Horrible Histories: Barmy Britain Part Four, Apollo Theatre | Review

Saturday 4 August 2018

Friday 3 August 2018

Sacrifice, Soho Theatre | Review


Sacrifice
Soho Theatre 
Reviewed on Thursday 2nd August 2018 by Shaun Dicks
★★★★

Millennials, calling all Millennials. Take your faces out of the illumination of your phone (after reading this review) and pay attention. This is all Sacrifice asks of you. The run is limited. The length is short. But the message is powerful. Sacrifice brings to the spotlight the crisis that we as a generation face. Extortionate house prices, lack of opportunity outside university, gentrified communities and increasing debt. Using archetypal characters, you are given a cross-section of the those that make up society and presented to you is a story of a group of young millennials trying to get by while chasing their dreams in a city that is ruthless and stone cold. 

Despite all the severe topics that are brought to the fore here, Sacrifice is an incredibly witty and humorous play. The jokes are well planned in the script and executed perfectly by the ensemble cast. One liners come thick and fast, the next one easily as funny as the last. The presentation of the script is outstanding as the performers are snappy and make words buzz with energy as the exchanges go on. Overall, the work the whole cast put in pays off, as their performances shine through. 


What really got to me as I as watching this piece was how unrelenting this show is when it comes to the truth. This show, I believe is the beginning of opening up conversations about the crisis we face today. A crisis that gets white washed in the media. This brings the problems to our very front door. Sacrifice is a ruthless dissection of human psychology and the nature of millennials. This show urges us to challenge what we’re told and fight for more than the scraps that are being handed out. When it boils down to it, the show is about the ever-growing class and wealth divide in this country. 

So please, I beg you, get off your phone, run down to the Soho Theatre, watch Sacrifice while you can. Don’t do what you do in elections and referendums; stop ignoring and start acting. Watch this show, try to tell me you don’t see and hear some familiarities. This here is art imitating life. 

Sacrifice runs at the Soho Theatre until 4th August

photo credit: Mark Douet

Sacrifice, Soho Theatre | Review

Friday 3 August 2018

Thursday 2 August 2018

War Horse (UK Tour), New Victoria Theatre | Review


War Horse (UK Tour)
New Victoria Theatre 
Reviewed on Wednesday 1st August 2018 by Olivia Mitchell 
★★★★★

Since its premiere at the National Theatre in 2007, War Horse has been enthralling audiences around the world and after seeing it, it's clear why. The play follows the deeply moving story of the relationship between a young boy, Albert Narracott, played brilliantly by Thomas Dennis, and his adored horse, Joey.

Whilst this story begins as an unflinching quest for a boy to find his horse after it has been taken as part of the World War One front, it quickly becomes a story of how horses were sacrificed on mass at the battle lines. For the men of the army, the horses lives symbolise their own and its especially affecting to see how the men measure their lives by their horses.

The reality of war is brought to life with dramatic simplicity, with sound effects and bright lights hitting us with an intensity that transports us to the battlefield. This production is alarmingly powerful and honest.


Also brought to life are the friendships of life and war. Particularly moving is a scene where the two opposing sides make peace as the unite to free Joey from barbed wire in the midst of war. The friendship between Emilie (Joëlle Brabban) and Friedrich Müller (Peter Becker) is equally touching, especially as we see the way the war really effects Müller and takes it's toll on his mental health.

The stars of the show however, have to be the impeccable puppet and Handspring Puppet Company who bring them to life. The puppets become real and it's hard to believe there are puppeteers controlling them, even when they are in full view on stage. The breathing, galloping and entire personalities come to life and we are immersed in this stunning production.

Everything about War Horse screams National Theatre and this tour does a stellar job of making us feel as though we are in the Olivier Theatre. Although vastly complex, the whole show comes off looking and feeling simplistic and effortless. Whilst moving and poignant, this production all in all is beautiful. Providing a reminder of the sacrifices those before us have made and highlighting the futility of war, this is a must see for people of all ages.

War Horse runs at the New Victoria Theatre until August 18th before continuing its tour.

photo credit: Brinkhoff and Mögenburg

War Horse (UK Tour), New Victoria Theatre | Review

Thursday 2 August 2018

Thursday 26 July 2018

Theatrical, Maggie Harcourt (Book) | Things I Read Whilst Writing


A bit of a different post for you today, as you know I love theatre and books so when I heard about Maggie Harcourt's newest book release, Theatrical which is all about the stage, I was very excited to get my hands on it!

Maggie did a huge amount of research for this book, not only on shows but also a lot about what goes on behind the scenes as our lead character, Hope, is working as an intern backstage. This book is all things adorable and you can read my full review here, but without further ado lets set the stage for Maggie Harcourt's deep-dive into the DNA of Theatrical...

Maggie Harcourt: One of the best things about writing Theatrical was getting the chance to spend time completely immersed in the theatre world: not just writing about it but thinking about it, reading about it – and, of course, visiting it! 

Here’s my deep-dive list of everything that went on behind the scenes. Not everything is obviously part of the world of the finished book, but it’s still part of the story… 

Things I read: 
  • All About Theatre: the National Theatre
  • Unseen London (especially the ‘backstage’ section): Mark Daly and Peter Dazeley 
  • London Theatres: Michael Coveney, Peter Dazeley and Mark Rylance 
  • Stage Management – The Essential Handbook: Gail Pallin 
  • Stage Management and Theatre Administration: Pauline Menear, Amanda Saunders and Terry Hawkins 
  • Untold Stories: Alan Bennett 
  • Simon Stephens – A Working Diary: Simon Stephens 
  • The Oberon Glossary of Theatrical Terms: Colin Winslow 
  • Harry Potter and the Cursed Child (black cover) souvenir brochure, which is full of detail about putting a big show together. 



I also read a lot of plays: not only for research, but because I was also taking a theatre writing class, and because I just enjoy reading them. Here’s a few of my favourites, which I know I was reading at the same time as writing the book. A couple of them make cameo appearances in Theatrical as Luke’s scripts or as things Hope has seen… 
  • Rope: Patrick Hamilton 
  • The History Boys: Alan Bennett 
  • And Then Come the Nightjars: Bea Roberts 
  • The Ferryman: Jez Butterworth 
  • Misterman: Enda Walsh 
  • The Hairy Ape: Eugene O’Neill 
  • The Dazzle: Richard Greenberg 
  • Sea Wall: Simon Stephens 
  • The Habit of Art: Alan Bennett 
  • Ink: James Graham 
  • Harry Potter and the Cursed Child: JK Rowling, John Tiffany and Jack Thorne 

Like Hope, I also read The Stage, which is the weekly theatre trade paper– especially the technical columns, and particularly Jess Gow’s stage management columns. And Usborne’s Slot Together Theatre was an invaluable tool for helping me picture the Earl’s Theatre! 

I hope you enjoyed this amazing peek at all the research Maggie did for Theatrical, I know I'll definitely be picking up some of the books to fulfil my thirst for all things stagey. Theatrical is out now, more information can be found here and my full review can be read here.

This review for Theatrical is a part of the official blog tour, be sure to check out the other blog stops for more reviews, personal stories and guest posts from Maggie.

Post by Editor, Olivia Mitchell



Theatrical, Maggie Harcourt (Book) | Things I Read Whilst Writing

Thursday 26 July 2018

Wednesday 18 July 2018

A Monster Calls, Old Vic | Review


A Monster Calls
Old Vic
Reviewed on Tuesday 17th July 2018 by Emma Gradwell
★★★★★

I was familiar with the storyline of Patrick Ness’s A Monster Calls prior to yesterday’s performance at The Old Vic, after watching the 2016 film adaptation. Despite this, I was not prepared for the emotional journey the story would once again take me on – and the copious amounts of tissues that would be required to mop up the resulting mess. Although a book written primarily for children, A Monster Calls contains some very complex themes– and they are all embraced in director, Sally Cookson’s take on this incredible story. 

Conor is 13 and his mother has incurable terminal cancer. His nightmares always come at 12.07am: a monster comes walking to deliver three stories – and then finally to hear Conor’s. 


The nightmares are visualised as blood-like projections upon a blank white wall, a system being pumped with chemo, accompanied by strobe lighting, loud dissonant noise and physical discomfort. Benji and Will Bower’s ethereal score helps take us on Conor’s journey from denial, through anger and fear, to acceptance. 

The set, designed by Michael Vale, is stark, white and uncluttered. A stripped back stage, with virtually only ropes and chairs, is used to inventive effect by the ensemble cast of twelve. The fluidity of the production relies on sharp timings. It seems almost implausible that trees, classrooms, crowns and cars can be created with only these props, but it is done with great effect. The simplicity of the set lends itself to the solitude of Conor, played by Matthew Tennyson. Tennyson manages to capture a very raw, real and believable 13-year old boy. He often doesn’t engage with other characters, in the way a child in denial would not. The performance is unsweetened and plausible. 


Selina Cadell delivers as a bitter and awkward Grandma, dealing with her own grief and not entirely sure how to help Conor. In the scene following Conor’s destruction of her living room, she gives us perhaps the most human moments in the production. 

Stuart Goodwin plays the Monster, alongside a complex tangle of ropes – and although we are left in no doubt that the monster is a metaphor for the cancer, Goodwin offers us a complete arc to its importance in the story. At the outset the monster scares us with his booming voice as he shouts from high above in his form as a yew tree. As the story continues, he becomes closer to human as he walks on stilts, until eventually he is alongside Conor as he embraces him in a way we never see his distant father do. 

This story contains no real heroes or villains. It is a brutal tale that focuses on the harsh realities of mortality, and our helplessness in grief and the emotional complexities of its process. This production tells it very well, especially in the quietest of scenes. A Monster Calls is not to be missed. 

A Monster Calls runs at the Old Vic until 25th August

photo credit: Manuel Harlan

A Monster Calls, Old Vic | Review

Wednesday 18 July 2018