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

Friday 7 February 2020

Poet in da Corner, Royal Court | Review


Poet in da Corner
Royal Court
Reviewed on Thursday 6th February 2020 by Olivia Mitchell 
★★★★

Modern storytelling is ever-changing but the blueprint often stays the same, with Shakespeare, Ibsen and Chekhov usually being the playwrights we are told to use as inspiration. In Poet in da Corner, Debris Stevenson challenges this and chooses to use Dizzee Rascal's debut album as the framework for her personal coming-of-age tale. Debris makes the importance of music clear from the get go: "Grime changed my life, more than my two first class degrees, it gave me permission". From here, we go on a loud, fast, energetic and spirited journey through Stevenson's life from a dyslexic teen trapped in a mormon household, to an independent, strong and self-aware woman.

This is an incredibly multi-layered show which is so much more than just a celebration of grime. Instead it's an impactful look at upbringing, freedom, self-expression and privilege. Stevenson freely studies and exerts herself, whilst, also investigating theatrical expression as a genre and form. There's breaking of the fourth wall, interesting use of props, thought-provoking lighting and exceptional movement. The energy is at peak levels throughout and the gig like atmosphere in the Royal Court is something to behold. Reminiscent at times of Arinzé Kene's Misty, this is the way theatre should be evolving to attract new audiences and tell stories in unique ways.

As well as writing the show, Stevenson's performance is exceptional; her passion for grime is instantly infectious and becomes universal almost as if her story is ours. I suppose in ways it is, as the universality of music is what makes it so special, but it's still masterful how Stevenson is able to unify a room of individuals so expertly, through her mile a mile performance.

Alongside Stevenson are Jammz (co-writer of the show), Stacy Abalogun and Kirubel Belay. The quad give amazingly agile performances both in vocal and physical terms. It's amazing to witness such fast action which flits between humour and intensity so seamlessly. If you want a celebration of grime and a true example of self-expression, this is the show for you.

The entire seventy minute show feels like a pan on the boil, continuously moving and flowing and engaging. Poet in da Corner is funny, truthful, inventive and really worth seeing.

Poet in da Corner runs at the Royal Court until 22 February and then tours the UK

Poet in da Corner, Royal Court | Review

Friday 7 February 2020

Thursday 23 January 2020

Sex/Crime, Soho Theatre | Review


Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★

The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.

The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…

Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.


Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.

Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.

It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.

SEX/CRIME runs at the SOHO Theatre until 1st February 2020

photo credit: Matt Spike

Sex/Crime, Soho Theatre | Review

Thursday 23 January 2020

Tuesday 14 January 2020

Peter Pan Goes Wrong (UK Tour), New Victoria Theatre | Review


Peter Pan Goes Wrong (UK Tour)
New Victoria Theatre 
Reviewed on Tuesday 14th January 2020 by Olivia Mitchell 
★★★★

The masters of laughter, Mischief Theatre are back at it again with a gut wrenchingly funny touring version of Peter Pan Goes Wrong, which takes everything theatrical and jumbles it into a mess of impassioned, choreographed mayhem.

The Goes Wrong franchise has achieved an astounding amount of success. From a Fringe company, they have taken over the West End, with new productions regularly being released and a series recently beginning on BBC One. Their timeless form of physical comedy, provides excellent entertainment, as well as a celebration of the intricacies of theatre.

Previously televised, this raucous version of Peter Pan, performed by the most bumbling amateur dramatic group ever, is as amusing as ever as it journey's around the UK. It's slapstick of course, but more than that, it is a precisely executed piece of theatre, full of well thought-out characters and exuberant joy. From the pre-show that audience are involved in the mayhem and it's quite excellent how the cast are able to mould us to laugh both at and with them.

During the show, there are missed cues, comedy falls, props malfunctioning, wires crossing and many, many casualties. Mischief Theatre wonderfully balance physical and visual gags, and never cross the line of overdoing their jokes. That's not to say all the gags are highly original, but they're pulled off so seamlessly that this farce is almost comedic perfection.

Tonight's performance was a real testament to understudies, as they really saved the day for the show. Amongst the host of theatrical parodies are Katy Daghorn as Wendy who boastfully struts around the stage and gives a completely stellar performance. Chris, the grandiose director who also plays Hook and Mr Darling, is expertly portrayed by Tom Babbage who bounces back and forth with the audience as he insists the show is not a pantomime. Stepping in as Trevor, Ava Pickett is a complete joy to watch and Christian James' Peter is likeable and dynamic as he dizzily flies around the stage.

This is clearly a physically demanding piece of theatre, which is expertly performed by the entire cast, of which there are zero weak links. A genuinely entertaining show, this is a definite family pleaser and a great night out at the theatre. The company may get everything wrong, but in the end it all seems so right.

Peter Pan Goes Wrong runs at the New Victoria Theatre until 18th January before continuing its tour

photo credit: Alistair Muir

Peter Pan Goes Wrong (UK Tour), New Victoria Theatre | Review

Tuesday 14 January 2020

Thursday 5 December 2019

Billionaire Boy (UK Tour), New Theatre Oxford | Review


Billionaire Boy (UK Tour)
New Theatre Oxford
Reviewed on Wednesday 4th December 2019 by Emma Gradwell
★★★★

David Walliams' children’s books translate perfectly from page to stage, with Billionaire Boy being the Birmingham Stage Company’s third adaptation. The stories are naughty, gross and capture British school life to a tee.

Billionaire Boy tells us the tale of Joe Spud. The heir to the Bum Fresh fortune. He has crocodiles, a racing car and a two million pound cheque, but what he doesn’t have is something that money cannot buy.

Matthew Gordon as Joe, confidently leads a fantastic cast through this pleasing story that packs a kind message. The actors move seamlessly between characters who are all fully realised and charming. Highlights of the evening were Aosaf Afzal as the fabulous Raj, a recurring character in Walliams' books. He is the shop keeper that we all knew growing up, with hilarious sayings and antics. Also, Emma Matthews as Ms. Trafe gives a wonderful comedic performance, from her deep fried blue tac to her hip replacement that looks suspiciously like a boob job.

Jaqueline Taylor’s clever set design is made almost entirely out of toilet rolls. The different pieces open and move to reveal all sorts of scenes hidden away. Watch out for the helicopter reveal - it is impressive and an audience favourite!

Music by Jack Poore is simple and catchy. We were singing the Bum Fresh song all the way home on the train!

The Birmingham Theatre Company have taken a children’s story and made it into a sophisticated production. The audience reaction is testament to a good job done.

photo credit: Mark Douet

Billionaire Boy (UK Tour), New Theatre Oxford | Review

Thursday 5 December 2019

Saturday 2 November 2019

Ghost Quartet, Boulevard Theatre | Review


Ghost Quartet
Boulevard Theatre 
Reviewed on Friday 1st November 2019 by Olivia Mitchell 
★★★★

The opening of a new theatre in central London is cause for celebration, especially when it's as wonderfully sophisticated and welcoming as the Boulevard. SODA architects have created a millennial dream with a pink-walled restaurant with delicious looking food and cocktails and a completely chilled atmosphere. Whilst, Charcoalblue have made a theatre space which is versatile, extremely comfortable and just great. The programme of late night concerts, cabarets and podcasts is an exciting one indeed and this space is sure to become a hub for new theatrical experiences. The Sketch of the theatre world, the Boulevard is certainly worth a visit!

As the inaugural show, Dave Malloy's Ghost Quartet paves the way to stray from convention. The show is pretty much a song-cycle of interlinked ghost stories, sung track by track by an amazing group of performers. The four musicians play a whole range of instruments and introduce each track as they perform it. There's also a regular breaking of the fourth wall and the audience feel part of the story throughout. The line between real life person and character becomes blurred as the performers are addressed by both their actual names and show names. They also comment on the strangeness of the story throughout in a very meta manner which works exceptionally in the space. 

We are introduced to a number of characters and stories which are eerie as opposed to scary and really don't make a tonne of sense, but that totally doesn't matter. The amazing performances and variety of musical styles make this a piece which wraps you round it's finger without having, or needing a proper plot. The circular seating adds to the feeling of being gathered round a campfire listening to stories the whole experience feels communal in a magical way.

The piece feels marvellously balanced between being off the cuff and rough around the edges but also highly sophisticated. Bill Buckhurst's direction has allowed the performers to be themselves as they interact with the audience but still maintain an aura of otherworldliness. Simon Kenny's set of piled suitcases, books and various household items allow for visual interest and frame the performers wonderfully. Emma Chapman's lighting is refined and effective. 

The cast are an exceptionally talented bunch with some of the most stunning vocal tones gracing London stages right now. Carly Bawden, Maimuna Memon, Zubin Varla and Niccolò Curradi give completely enchanting performances and share a graceful rapport with each other  and the audience. The way the performers exit the stage is completely magical and leaves you feeling warm and content, perhaps not how you'd expect to feel after a show with Ghost in the title. The vivacious performances and gripping qualities of characterisation throughout make Ghost Quartet a thrilling way to spend ninety minutes. 

Ghost Quartet runs at the Boulevard Theatre until January 4th 2019

photo credit: Marc Brenner

Ghost Quartet, Boulevard Theatre | Review

Saturday 2 November 2019

Shook, Southwark Playhouse | Review


Shook
Southwark Playhouse
Reviewed on Friday 1st November 2019 by Shaun Dicks
★★★★★

Now in it’s tenth year, the Papatango writing prize is back. Last year’s winner, The Funeral Director, was a rousing success and ended up going on a national tour. After a record 1,406 entries for this year’s prize, the winner is Shook by Samuel Bailey. One of the prizes, a month’s run at the famous Southwark Playhouse.

We found ourselves in prison to follow the stories of Jonjo (Josef Davies), Cain (Josh Finan) and Riyad (Ivan Oyik), three inmates who all have young children and are taking a childcare class run by Grace (Andrea Hall). Throughout we stay in the classroom where we learn all about the three men, find out why they’re in there, see who they are as people and watch them train to be fathers. But as Cain points out, ‘You can’t teach anyone to be a parent.’

There are many things that make this show great. One of them is the humour. The jokes within this script from Bailey are a laugh riot. ‘What does MBE mean? Massive bellend.’ and ‘Have you grown up in a cupboard?’ are particular highlights delivered by the outrageously loud mouthed but hilarious Cain.


But what makes the humour so brilliant is the sucker punches that are handed out by Bailey later. They are brutally honest and cutting, like when they are talking about their children and Cain proclaims that ‘They’ll be in here too soon.’ and when Jonjo finally opens up about his dad leaving his family and Cain replies ‘Fair enough, your old man fucked off. That’s normal.’.

However, all get to shine in their different ways. Riyad is intelligent and full of confidence and he is looking to get his Maths GCSE. His confidence is on full display when he says, ‘I’m going to make Equilateral Triangles my bitch.’ Jonjo is new to the prison and is a very shy man. He takes his time to open up to the others and as he does, you warm up to him. As soon as you do, he hits you with the sucker punch of how he got to where he is. And Grace is a wonderful anchor for the entire show, giving the other characters someone to bounce off throughout.

What really stands out in this show is the cohesion between the performers. There is an outstanding rapport between all four actors. The bounce back of dialogue between all is seamless and brilliant. A testament to director George Turvey, who clearly worked his performers hard to get that level of cohesion.

Papatango and the Southwark Playhouse have met and superseded all expectations. The whole package is simply superb, from the writing to the performances. This. Play. Is. Phenomenal. It affects you and that is the sign of excellent theatre. Shook will take you and you will not return the same.

Shook runs at the Southwark Playhouse until 23rd November 2019

photo credit: The Other Richard

Shook, Southwark Playhouse | Review

Thursday 31 October 2019

Billionaire Boy (UK Tour), Richmond Theatre | Review


Billionaire Boy (UK Tour)
Richmond Theatre
Reviewed on Wednesday 30th October 2019 by Olivia Mitchell 
★★★★

David Walliams' quirky children's shows (adapted from his best selling books) are quickly becoming regular features in the UK theatre scene and Billionaire Boy certainly shows why. His excellently gleeful stories, filled with important messages are brought to life wonderfully on stage and provide a laugh-out-loud night for adults and kids a like.

Billionaire Boy is about the life of Joe Spud and his dad Len- a man who's made unfathomable amounts of money from inventing a special kind of double sided loo-roll: Bumfresh! Joe transfers to his local comp school and learns about the importance of friendship, money and loyalty.

The cast, made up of many recent graduates, are fantastic at bringing a variety of characters to life with spades of energy and childish delight. Matthew Gordon as Joe is thrilling to watch as he highlights Joe's moral struggles and gives a lovely performance throughout. As his best friend Bob, Davy Bell is earnest and instantly likeable. The pair have a wonderful on stage chemistry and really bounce off one another to create realistic school-time dramas that we can all relate to.... (well other than the part where one of them's a billionaire!)

Amongst the rest of the cast, Jason Furnival brings a realism to the story, especially towards the end; Emma Matthews gives it everything as Mrs Trafe and is certainly a highlight and Aosaf Afzal garners some of the biggest laughs of the night with his witty one liners and great comedic timing. The show is dotted with some very catchy songs by Jak Poore which keep the whole thing buoyant and are extremely well performed. Mared Lewis and Rosie Coles give vocal performances which really shine and Coles brings Sapphire to life excellently... I think we have a future Mrs Wormwood in our midst!

Jacqueline Trousdale's set is extremely well put together, with simple pieces weaving together to create something eye catching throughout. Bumfresh Towers is created by huge piles of loo roll which are twisted and changed to create the school, Raj's shop and other locations. There's also the helicopter scene which had children ahhing and ohhing- a real wow moment. Despite being a production aimed at children, nothing feels cheap or amateurish and Billionaire Boy really seems as if it'll stand the test of time and continue to entertain. 

There are a few jokes which run dry a little fast, and it would be nice to see the bad guys get their just desserts but this is a wonderful production which is sure to bring joy to young audiences.

Billionaire Boy runs at Richmond Theatre until November 2nd before continuing its tour

photo credit: Mark Douet

Billionaire Boy (UK Tour), Richmond Theatre | Review

Thursday 31 October 2019

Tuesday 29 October 2019

The Girl on the Train (UK Tour), New Victoria Theatre | Review


The Girl on the Train (UK Tour)
New Victoria Theatre
Reviewed on Monday 28th October 2019 by Melanie Mitchell 
★★★★

Having never read the book nor seen the film apart from the first 20 minutes, I was unsure what to expect from the stage version of Paula Hawkins' 2015 bestseller The Girl on the Train. I knew that it was a psychological thriller involving a girl, a lot of train journeys and a murder but that was all!

I was unsure how the train element of the story would be transferred on to a fairly small theatre stage, but thanks to the extremely clever set design by Anthony Banks accompanied by the atmospheric lighting from Jack Knowles and sound by Ben & Max Ringham, this was very successfully  and effectively achieved.

The story focusses on Rachel Watson after the breakdown of her childless marriage. Her life begins to unravel and she sinks deeper and deeper into the bottom of a bottle. Whilst on her daily commute she starts to watch a couple on their balcony, living close to where she used to live. Convinced that they have the perfect life that she no longer has, she becomes fixated and obsessed by them. But  as we all know, things aren’t always as perfect as they seem...

Samantha Womack plays the alcoholic Rachel superbly, conveying her feelings of inadequacy, confusion, loneliness and envy, interspersed with moments of laugh out loud one liners, that don’t take away from the drama at all. 

All members of the production are very well cast, especially Adam Jackson Smith who portrays Rachel's caring ex and now perfect husband to Anna, played by Lowenna Melrose who also gives a strong performance.

As the story goes on it becomes increasingly apparent that people are often not living the lives that are seen and admired by outsiders or people looking in. Things are very different behind closed doors and when one of the characters disappears these facades begin to fall away, culminating in an unexpected twist, which I didn’t see coming. Altogether this is a very clever adaptation and production of the book, which takes you on a journey of human emotions and is well worth seeing.

The Girl on the Train runs at the New Victoria Theatre until 2nd November before continuing its tour.

photo credit: Manuel Harlan

The Girl on the Train (UK Tour), New Victoria Theatre | Review

Tuesday 29 October 2019

Tuesday 22 October 2019

Toast (UK Tour), Richmond Theatre | Review

 
Toast 
Richmond Theatre
Reviewed on Monday 21st October 2019 by Glenys Balchin
★★★★
 
On press night, Toast started a little late and I was tapping my toes waiting for it to being, however, this became inconsequential once I spotted Nigel Slater in the audience. This was certainly an added bonus! I would love to ask him what he thinks about seeing his life being played out on the stage at Richmond Theatre, it must be a very surreal experience.

Anyway, back to the play, I loved the simple stylised approach of the story telling, scenery and the lighting which was very atmospheric. Although, I was not sure at first about the young Nigel being played by a man wearing shorts, but as the play progressed I became convinced that the actor was looking through the eyes of a nine year old boy and it worked for me.  The actors were flawless in the systematic approach of changing from scene to scene. The cast were versatile  switching   from one character to another.  I was most impressed that a play with such a big story to tell, with so many underlining themes, was delivered with such a small cast and the action on stage was kept fluid at all times

The mum played by Katy Federman  was the star of the show for me, though I don’t know whether it was her acting skills I enjoyed the most or that character that  she portrayed. A most loving and nurturing mum protecting her son from the realities of life. 

 Nigel played by Giles Cooper told the story well and showed no difficulty, or hesitation changing from being the narrator, to then playing his character.  He drew us into his world and breathed life into the other actor's characters portrayed on stage.

As the story unravelled you were saddened at the loss for Nigel, of both parents, but enlightened that his Mother’s unconditional love drove him on to be the man he became.  For me the early life of Nigel evoked a lot of beautiful memories from the cooking with mum in the kitchen , jam tarts, spagbol and the sweets, angel delight, ballroom dancing lessons in the kitchen and the ritual of sitting around the table as a family.
 
My mum’s cooking, as was Nigel’s, was always made with lots of love, but she too was certainly no Marguerite Patten. I do, however, fondly remember my Mum’s splodge trifle! Watching the play has made me want to read Nigel’s autobiography and taste again all those 60s and 70’s treats again- Angel Delight being one of them!  I loved the storyline and the tale it told and it was well executed by the cast and I would definitely recommend others to go and experience Toast.
 
However, my words alone do not resonate the success of the play as well as Nigel Slater giving a standing ovation, a very high accolade indeed and one that the actors should be proud of.
 
photo credit: Piers Foley

Toast (UK Tour), Richmond Theatre | Review

Tuesday 22 October 2019