Posts with the label plays
Showing posts with label plays. Show all posts
Showing posts with label plays. Show all posts
Thursday 14 December 2017
In Conversation With... Matt Addis | Remarkable Invisible | Interview
Matt Addis is currently starring in Remarkable Invisible, he sat down with me to chat all about the show, theatre he's recently loved and more...
For anyone that doesn’t know, can you explain a little about your career and what your highlight have been so far
For anyone that doesn’t know, can you explain a little about your career and what your highlight have been so far
I’ve been acting professionally for ten years, after escaping a blossoming career in corporate sales. Playing Nicholls in the international tour of War Horse was a delight, especially the shows for township kids in South Africa, where the puppets originated.
Have you always aspired to be a performer or did you have a different dream when you were younger?
I always aspired to be James Bond, but after reading John le Carré I decided acting was maybe a less tedious career.
Have you got any hidden passions you’d like to pursue?
Rally driving, although I’ll need a few more well-paid jobs to really make that happen.
What can people expect when they come and see Remarkable Invisible?
A deftly-woven, delicate portrait of a family. Beautiful naturalistic dialogue and some hard home truths.
What drew you to the role of Christopher in Remarkable Invisible- are the two of you alike in any ways?
It’s a beautiful play, deftly painted onto a very small canvas. I was enchanted by the quality of the writing, which feels so beautifully fresh. Christopher is an emotionally stunted millionaire architect who lives in San Francisco and likes good bourbon. I like good bourbon.
Can you sum up the play in five words?
Family. Moving. Home. Lies. Truth.
Is there a play or musical you’ve seen recently that you loved?
Iphigenia in Splott, with Sophie Melville at the NT has to be the finest piece of theatre I’ve seen in years. Excoriating, visceral and evocative. Sophie’s worked here at Keswick before, and I hope she’s back very soon.
What’s a fun fact people might not know about you?
I once played Dame Edna Everage in an episode of Hollyoaks.
What’s your best piece of advice for an aspiring performer?
Listen to all the advice you can find, and disregard everything that gets in your way. Believe in yourself with a passion stronger than any obstacle. Find joy in the present, wherever that is!
A huge thank you to Matt for taking the time to chat to me. Make sure you catch him in Remarkable Invisible as well as any future projects!
Interview by Olivia Mitchell, Editor
A huge thank you to Matt for taking the time to chat to me. Make sure you catch him in Remarkable Invisible as well as any future projects!
Interview by Olivia Mitchell, Editor
Tuesday 12 December 2017
Jayde Adams is Jayded, Soho Theatre | Review
Jayde Adams is Jayded
Soho Theatre
Reviewed on Monday 11th December 2017 by Shaun Dicks
★★★★★
Open on the West End, Soho Theatre. A hotbed of theatre and comedic excellence. We find ourselves in the Downstairs space, the set up is of a comedy club. The bar, a scattering of tables and chairs, and an elevated stage that’s dressed with a park bench and a piano. We are welcomed with music from Musical Theatre and Pop Culture. As I wrote before the show, we are in for a hell of a night.
A hell of a night was had by all. Jayde Adams is a beautifully voluptuous woman who takes us on a journey full of laughs. She takes us through a wonderfully crafted set all about popularity and success. Through various devices like mime, song, best friend tests and audience interaction Adams made me cry laughing. Her timing was so perfect, so on point that despite a few word stumbles, everything landed.
One of the highlights of the show was Adams’ use of song, her original songs were Tim Minchin esque and her not so original songs were executed perfectly. The musical aspect of the show was truly satisfying. Another highlight was Adams’ use of the best friend test. This involved using a member of the audience, which by nature is a tricky thing, but Adams navigated it perfectly. This writer was buying what she was selling when Adams broke out the wigs and fan, giving the audience a Beyoncé moment that we will never forget. She was willing to improvise and play with the audience as the show went along. She had the audience in the palm of her hands.
As Adams said during the show, she smashed it. Adams reminded me of my Aunt, with her warm Bristolian accent shewas crass, boisterous and unapologetic in the best way. It is a show that deserves to be seen, it’ll be the best decision you’ve ever made. You will cry with laughter. A sprinkle of happiness in the holiday season.
Saturday 9 December 2017
Callisto: A Queer Epic, Arcola Theatre | Review
Callisto: A Queer Epic
Arcola Theatre
Reviewed on Friday 8th December 2017 by Shaun Dicks
★★★★
“To be patient is to suffer.”
Arcola Theatre. London’s East End. Four stories all about a community that knows suffering all too well. The LGBT community. The theatre is bare – no props or furniture set – just the harsh concrete floor and the bare brick walls. We are set in the thrust and are welcomed by edgy, East End music. The music and lights drop, the show begins.
The show follows four different LGBT stories all in different time periods. They have their own narratives and different characters but they all fall on to two similar topics; suffering and love. The script of this show is a gem. Hal Coase has created a rich and full script that is a wonder to see being brought to life by the actors. There was a richness to the dialogue that was natural but moving. Credit should also be given to director Thomas Bailey, the way that the show moves - scene to scene, time period to time period - was well executed for the most part.
However, there are two downfalls to this show. The first, is the story set in space; these scenes were basic, under rehearsed and ultimately lacklustre. It felt like this story had been given less time and care in its rehearsals. It’s one saving grace was Cal (Nicholas Finerty), this character was endearing, innocent and charming. Unfortunately, the second downfall of this show – excluding the character Cal – was the performance of the male cast. The men within the show were one-dimensional, simple and lacking any type of edge. There was so much to work with story wise, it was disappointing that the men didn’t capitalise.
Thankfully for this show and its audience, the women of this show, stole it. These women created well rounded, fully realised characters. They made us feel, laugh and gasp. Whether it was a cheesy 70’s porn scene, locked up in a tower or in the comfort of home; the scenes were intriguing, captivating and hilarious. The woman who really stole the show for me was Phoebe Hames (Isobel, Nurse, Aunty), her performance was simply outstanding. Hames’ comedic timing was something to be savoured and enjoyed.
The script is scintillating, the direction is clever and the acting on the female side is exquisite. If that were replicated by the other half of the cast, we would have one hell of a show on our hands. In its current form the show is good, and is well worth a watch. The stories deserve to be heard and there are some performances that needs to be seen.
Callisto runs at the Arcola Theatre until December 23rd
Photo credit: Lidia Crisafulli
Friday 8 December 2017
Sinners Club, Soho Theatre | Review
Sinners Club
Soho Theatre
Reviewed on Thursday 7th December 2017 by Shaun Dicks
★★★★
The Soho Theatre invites you to the Sinners Club. We find ourselves in the Upstairs space of this buzzing theatre in the heart of London’s West End. As we walk in we are welcomed by a room set in the round, decorated as an old school recording studio; many an old-fashioned rug, musical instruments and microphones, soundproofing on the wall as well as a few photographs. Scattered around the studio space are members of the band playing light Jazz music to set the mood.
The concept of the album is simple, its based on the story of the last woman to be hanged in the UK. The original songs written and performed by Lucy Rivers and the band The Bad Mothers- tailored around the story of Ruth Ellis- are an eclectic mix of genres that seem to pulsate through Rivers as they affect her own character narrative as well as the albums. As Rivers enters to start the show, she is this fierce woman in black, taking control of the room. Rivers throughout the show is energetic and intriguing as she goes through the narrative of the concept album.
However, one of her flaws was her reliance on the audience and audience interaction. The reliance on an audience is a double-edged sword dependant on the audience itself, it can be a struggle for an audience to lose inhibitions and join in. Rivers needs to pick her moments and judge the moments when she does or doesn’t interact. Another thing that needs altering within the show is the amount of dead air in-between songs. As a performer myself I appreciate the device of silence but when its long periods, it becomes a period of time for the audience to wander.
Despite these flaws of the show, the music really made it- in a world of music made by computers in the mainstream and the jazz hands of the West End - this was a refreshing use of alternative types of music. The whole band was slick, and looked like they were having fun throughout the show. Rivers’ voice soared throughout, despite her over use of falsetto. What truly impressed this writer though was the musicianship packed within the show. The sheer volume of different instruments used was brilliant and to a very high quality. I personally appreciate musicians and musicianship, having worked with a few myself, so to have a live band and for it perform so well, it really brought a smile to my face.
If you’re looking for something a little different, take up your invitation for the Sinners Club, because despite its flaws, there are many a good aspect of this show to enjoy. This show is the palate cleanser that the West End is craving. Try something different and enjoy a night of music that you will not forget in a hurry.
Sinners Club runs at the Soho Theatre until December 30th
photo credit: Kieran Cudlip
Tuesday 5 December 2017
Parliament Square, Bush Theatre | Review
Parliament Square
Bush Theatre
Reviewed on Monday 4th December 2017 by Shaun Dicks
★★★★★
“We get a little happiness and then we die."
The Bush Theatre, a highly respected and popular Off-West End theatre in buzzing Shephard’s Bush, is currently home to a show that’s origins take it back North to the Royal Exchange Theatre in Manchester. The Bush Theatre itself as a building looks very new and stylish; when you walk into the main performance space that theme continues. The stage is set in the round, dressed very simply but elegantly with household items. As you walk in there is serious, almost ominous music playing, setting the tone for the rest of the show.
It’s a common theme for shows from the Royal Exchange to be outstanding and Parliament Square is no different. From beginning to end this show is strong, slick and packs a powerful punch. The show sizzles as it moves from scene to scene. Cleverly using lighting, staging and sound for the piece to reach all nooks of the space and keeping every audience member gripped as the show builds towards it’s climax. The use of micro or flash scenes aides the narrative as it means that we're not bogged down with any filler scenes, this script is a triumph for James Fritz, a true masterclass on how to write an impactful script in an age where not all new work is as tight as this.
However, it is not just the script that is outstanding here, the cast are a group of individuals brimming with talent and confidence. The supporting cast was a highlight- so fluid in their use of the staging and the way they bring James Fritz’s piece to life. They are unapologetic in what they're presenting, and they make this show tragically beautiful. It's a frank and realistic representation of the world today, a true protest piece.
Joanne Howarth (Mum) and Kelly Hotten (Physio/Colleague/Ticket Woman/Friend) are particularly outstanding as the comic relief aspect of a show that is covered and littered in seriousness and real-life truths. What is interesting is Damola Adelaja (Tommy) and his pitching of the character. In a world riddled with hyper masculine characters, Tommy is presented as this sensitive and caring man- a refreshing take on the modern-day male.
As we fall into Panto Land season I find some people forget that London is still brimming with brilliant theatre. Parliament Square is part of that. This protest drama is a pivotal piece of theatre that needs to be seen by all, and needs to be taken to the West End. The show is powerful, influential and relevant. It is a show not to be missed and you have until the 6th January to catch it before its gone. In this day and age, we all need something to believe in. This show emphasises this more than ever. A masterpiece.
photo credit: Richard Davenport
Monday 13 November 2017
Saint George and the Dragon, National Theatre | Review
Saint George and the Dragon
Olivier Theatre, National Theatre
Reviewed on Friday 10th November 2017 by Olivia Mitchell
★★★
The National Theatre's current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as "a folk tale for an uneasy nation" this production time travels from the medieval times all the way to the current day and questions whether England is losing it's traditional values and whether change is always positive.
Rory Mullarkey's play has faults and drags a little but its interesting and humourous throughout and works extremely well in the space of the Olivier theatre.
As George himself, John Heffernan is Shakespearean, larger than life, witty and charming- perfect for the role. A particularly funny moment is when he disguises himself as 'Ian' in the 2017 world, raising the question of how much we're willing to change to fit in. The character is interesting because as those around him change, he stays the same and becomes somewhat innocent in nature. This transition from the bold hero, to almost childlike is an interesting watch and the idea that distant 'heros' aren't always what the world needs is especially relevant now when it's being revealed that many Hollywood idol's are not the people we should be looking up to at all.
Julian Bleach is the perfect contrast as the sinister but witty Dragon; his portrayal is fantastically strong and gave me major child-catcher vibes in the second act. As the feisty, voice of reason heroine, Elsa, Amaka Okafor is brilliantly cast.
This show wouldn't be what it is without Rae Smith's outstanding set design which transitions along with the characters seamlessly and adds a simple but strong dimension to the play. From the green fields of medieval England to the factory filled London during the industrial revolution, each set is instantly recognisable. Whilst extremely fitting for the time period, the sets also have a humourous aspect such as the way smoke puffs out of the factories. Accompanied by the great, atmospheric lighting by Bruno Poet we are transported through the history of England.
Overall I don't think this play will be to everyone's taste and it could certainly be trimmed down for a smoother flow but it's definitely interesting and I enjoy how it raises some important and relevant questions whilst still remaining humourous. Its genuinely funny and entertaining and Rory Mullarkey has done a great job of reinventing a traditional tale.
Friday 3 November 2017
Macbeth, Bussey Building | Review
Macbeth
Bussey Building
Reviewed on Thursday 2nd November 2017 by Alessandra Cenni
★★★
Nothing screams ‘welcome to this production of Macbeth’ better than a lovely full-body skeleton comfortably sitting centre stage.
The charming gentleman was the first character I met last night at the CFL Art Cafe in the Bussey Building - a suggestive performing space, large enough to allow an interesting setting, but that nonetheless will give you the chills when the lights go out.
The premise of this post-apocalyptic retelling of the famous tragedy was clearly stated in the programme: civilisation had met its fall, and humanity is trying its best to survive through violence, living on the scraps of the previous world. The setting and costumes give justice to this new world, and I found myself wondering how military clothes and bullet belts could feel even more appropriate than traditional costumes. Because they really did. This new desperate-fallen-revolutionaries look just clicked with the characters better than I expected.
I found the visuals and sounds of the second act particularly beautiful - especially if you have a thing for dark and stormy nights, blood-thirsty characters, and violent actions, like I do. That was the part where the raw savagery of the plot found its perfect expression in this broken, hopeless imitation of humanity.
And yet, this backstory also becomes a downside to the production. It raised lots of expectations on the way this story was going to intertwine with the original and what it could add to it, but these were never fulfilled. The backstory was more of a background than a story, maybe also due to a pretty static stage. Since I love the idea, I would definitely love to see how this would play out in a larger production.
The cast gave a fierce, energetic performance that had its strongest moments during the second act. At points I was amazed at how I felt as though I was in the middle of a epic war with only six actors actually fighting on stage.
The witches chose to go for a seriously creepy effect (borderline disturbing, I would say). Their movements had something feral, that belongs to wild beasts rather than humans. The main pair - Macbeth and his Lady - were just made for the part. Henry Proffit’s Macbeth starts off with a cheeky smile, almost playful, but his later torment seems genuine. Sadie Pepperrell (also one of the witches) plays a Lady Macbeth who looks extraordinarily young, charming, and ambitious. Her mental breakdown in Act 2 was particularly strong and convincing.
My loyalty, however, goes to Macduff (Jared Fortune) and his family. Lady Macduff (Danielle Bond - again, one of the witches as well) fights like a tiger against four men, and so does her son, before being slaughtered. Macduff’s despair was so authentic I took his family's death as a personal offence, and I was really invested in their revenge.
A special mention goes to the kids - Quentin Debone as Macduff’s son, and Adam Nkomo as Fleance at this performance - who really made an impression on me and, from the high-pitched noises I heard, on the rest of the audience as well.
This Macbeth could be a starting point for something truly great; it is also a good way to get to know this venue, and definitely worth a trip to South London even if you're not local.
Macbeth plays until the 18th of November at the Bussey Building, Peckham
photo credit: Scott Rylander
Monday 30 October 2017
In Conversation With... Charlotte Cooper | The Night Pirates | Interview
Charlotte Cooper has had an extensive career and is currently starring in the swashbuckling family production, The Night Pirates. Charlotte sat down with Rewrite This Story to tell us about her career and why this production is perfect to take your little ones too!
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I have worked extensively in children's theatre. I have been lucky enough to tour all over the world including Singapore, Malaysia and America as well as all over the UK and a stint in the West End.
Have you always aspired to be a performer of did you have a different career path in mind when you were younger?
I discovered performing when I was 10 and knew instantly that I wanted to do it as my career. Prior to that I had wanted to be a farmer! I am still a big tractor fan and listen to The Archers daily.
What drew you to The Night Pirates?
The Night Pirates is a great book and gender equality in the form of female pirates is what the world needs! The team behind it are brilliant, Miranda and Barrie work beautifully together and Rose Theatre Kingston produce such excellent stuff. As soon as I heard it was being done I was itching to be seen for it. I am really pleased and proud to be a part of it
Did you have a favourite bedtime story growing up?
I was a big fan of Each Peach Pear Plum and the Jane Hissey Old Bear stories. I still have a soft spot for those.
What would your pirate name be?
What WOULD it be?! I am already blessed with one! ChARRRlotte or Captain Cooper. Captain ChARRRlotte Cooper to give me my full name.
Can you sum up the show in five words?
Swashbuckling action-packed piratey fun!
How do you adapt to performing in front of groups of mainly children compared to mainly adults?
An audience of mainly children is not a forgiving one! With shows for younger audiences, you know immediately by their reaction if something has or hasn't worked. They become restless if not fully entertained and need to be given plenty of opportunities to interact. It is a high energy medium and you have to be thinking constantly.
Younger audiences notice everything, it’s impossible to trick them or divert them, if something funny happens on stage they will have noticed and you can't gloss over the moment in the way you could with an adult audience. (I was once in a show where another character and I collided and he fell over. It was incredibly funny as he fell to the floor and into a spotlight centre stage, the whole audience saw it so I had to acknowledge it had happened which gave them permission to laugh and helped to explain my obvious guffaws!)
What’s a fun fact people may not know about you?
I have a keen interest in dinosaurs and am currently studying a paleobiology course. I find it fascinating!
What’s your best piece of advice for an aspiring performer?
Find your niche. The acting industry is vast and there are many different genres and mediums, the thing you may be best suited to you might not know about yet. Be open and receptive to trying new stuff and find what you enjoy.
A huge thank you to Charlotte for taking the time to do this interview. The Night Pirates is touring until November 19th, more information can be found here.
Interview by Olivia Mitchell, Editor
A huge thank you to Charlotte for taking the time to do this interview. The Night Pirates is touring until November 19th, more information can be found here.
Interview by Olivia Mitchell, Editor
Monday 23 October 2017
In Conversation With... Peter Becker | Interview
Peter Becker is currently starring in the UK Tour of War Horse and is the first German person to play Friedrich in the show. He sat down with me to discuss the show and his role...
Can you tell us a little bit about the rehearsal process for War Horse?
Can you tell us a little bit about the rehearsal process for War Horse?
On the first day of rehearsals I was seriously overwhelmed by the sheer scale of things. We were rehearsing in a massive industry complex at Morden Wharf in London and I could not quite get my head around the enormity of the undertaking. There are so many people involved in creating the show! The actual stage floor was already installed, we were immediately provided with all the necessary props and costumes. It felt like stepping into a whole new universe. I was invited to improvise with both horses in order to find out how to interact with them. Since the puppeteers knew everything about the anatomy and the natural behaviour of horses it all felt very natural. Like the audience I totally forgot they weren’t real horses I was dealing with in the matter of minutes. As the horses will solely react on the tone of our voices and the way we move I started speaking German to them. It was very interesting to learn that it didn't matter what language I used, they still understood my intentions and reacted accordingly. The attention to detail and the love that has been invested by the National Theatre is immense.
During rehearsals we had a visit from the Imperial War Museum, providing us with in-depth information. We visited the King's Troops, who answered all questions about the military handling of horses. We had military training, shooting lessons, went to several exhibitions and prepared presentations on the First World War from English, German and French perspective.
What’s the most challenging part about bringing this story to life?
What’s the most challenging part about bringing this story to life?
In Germany actors are mostly hired to play repertoire shows as a permanent cast member with one particular theatre where as over here it is common to play one show with a company every night. I first had to adapt to the different system. In addition, it is very challenging to interact with the horse puppets. On one hand it is very easy to believe they are real as they are so brilliantly manipulated, on the other hand you have to be technically very precise in order to achieve certain effects. Funnily for me the most demanding part was speaking English with a very strong German accent. I am half an Englishman and have a much less pronounced accent in real life. When playing, I got confused at first. It was very interesting to determine how different my brain works when I have to switch back and forth between the two languages. I feel a little delayed sometimes because I will often translate mentally before I react. My voice also sounds different when I speak English I believe.
Can you explain a little about your character?
When introduced at first, we get to know Friedrich as a high-ranking German military officer - shortly after capturing English soldiers. The challenge is to give the "enemy" - from an English perspective - a human face. In the course of the story, Friedrich will lose his beliefs in the concept of war and thus question his entire life. From a dramatic point of view, he reflects Albert's development in a nearly mirror-like manner: Whereas Albert continues to harden, Friedrich, in his desperate desire to defend his humanity, continues to soften through his experience in the war. What binds the two characters together is their unconditional love for the horses.
Besides yourself, which actor in the production is going to blow people away?
I have the privilege of being part of an outstanding ensemble. It is unbelievable what talented actors our Casting Director Jill Green and Director Katie Henry have gathered to bring this enormous show to life. It is merely impossible to emphasise individual colleagues at this point as War Horse is a true ensemble play with everyone contributing equally to it’s success.
You’re the first German Friedrich in War Horse, what’s the experience been like? Do you feel an extra pressure taking on the role?
It is very exciting in many ways to meet this challenge. In Germany, the First World War is completely overhauled by the reprocessing and remembrance of the Second World War. Because of the Germans' war guilt, there is no collective mourning of the dead, we have no equivalent to Remembrance Day. Only in recent years have there been attempts to tell the differentiated history of German soldiers. I too grew up with the image of the unscrupulous murderer, who would literally stop at nothing. Now having the opportunity to give the German soldiers a human face is a great responsibility which stirs me every evening anew. It is important to point out that we are all human beings with the same fears, hopes and needs, especially in those times when we seem to be moving farther and farther apart. Besides, I am very much looking forward to perform before my English family for the first time. My aunts, uncles, cousins and grandcousins have so far only seen me on TV, never on stage before...
What do you think makes War Horse so special and lasting?
To me War Horse almost represents a deep psychological inventory of the British nation. The songs put together by John Tams and performed by Bob Fox are deeply rooted in the DNA of the British people - partly going as far back as Celtic times. The story has a universal character whilst, very concretely taking place in a time that characterises Great Britain to this very day. The unspeakable suffering and the social upheavals, caused by the First World War, which interestingly is called The Great War over here, have in the most brutally possible way ushered in modern society. The audience is invited to witness the transition from 'innocent' country life to technologically alienation. Through the identification with the horses those unconscious experiences are being made accessible again. I believe it is a very cathartic experience for a lot of people.
What do you think will people be saying as they leave the theatre?
No more wars, hopefully.
If you had a magic wand, which show would you do next?
The place in Germany I come from (interestingly founded in the Middle Ages by an English monk from Malmesbury) is home to the largest German open-air theatre festival - the Bad Hersfelder Festspiele. There I saw a stunningly current version of Cabaret last year. The piece has accompanied me since I was 15 as it was the first I ever performed in. Ten years ago I also had the chance to play the role of Ernst Ludwig in Vienna. I would very much like to have the opportunity to bring the time before the Nazis took over to life in English-speaking countries because there are so many obvious parallels to our present time, which I would love to explore - preferably in the role of the M.C.
If you could travel back to any era, when would you go to and why?
Last year I had the opportunity to play in an exciting new series, which will soon be broadcast in England on Sky and in America on Netflix. It is called Babylon Berlin and like Cabaret it is set in the period of change between First and Second World War. An incredibly ambivalent era between joy and despair. A hysterical time in which a whole society is living on the edge. If I had the chance I would love to go back to the Twenties in Berlin to experience what people felt and how ultimate freedom could turn into repression so easily.
Finally, what’s your best piece of advice for aspiring performers?
Our profession is increasingly internationalising. I am personally experiencing just how enriching it is to work in another country at the moment. In this respect, I would advise young actors: Travel as much as you can, learn different languages, the world is great and the possibilities are more diverse than ever before!
Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.
Interview by Olivia Mitchell, Editor
Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.
Interview by Olivia Mitchell, Editor
Thursday 19 October 2017
War Horse (UK Tour), Bristol Hippodrome | Review
War Horse (UK Tour)
Bristol Hippodrome
Reviewed on Wednesday 18th September 2017 by Isobelle Desbrow
★★★★★
On the 10th anniversary since their first show, I was lucky enough to go and watch War Horse. The play is emotion filled and the stunning story telling through the music and ensemble work make the show a must see.
The first act tells the story of Albert training his horse, Joey who we see grow from a foal, to a riding horse, to a farm horse and finally to a war horse. Joey is controlled by 3 puppeteers: the head, heart and hind. This allows the puppet to mimic and move as if it were a real horse, something that is not easy by any means. Bob Fox’s spectacular folk voice helps tell the story through music,adding the perfect amount music to accompany the drama onstage. The cast are amazing as they all play multiple characters but if I hadn’t have looked throughly at the program I would never had known, as each character on stage had a different accent and characteristics. This show truly highlights the amazing work that can be produced by an ensemble cast.
Thomas Dennis as Albert brought the perfect mix of innocence and will to fight for what he believes in: saving and bringing Joey home from the war. His portrayal of Albert was emotional and moving he deserves credit for his acting talents.
At the end of the first act we see the beginning of the war and Albert going off to find Joey. These scenes were powerful, compelling, honest and emotional, showing the audience another aspect of World War 1, which I had never seen before.
Something that I haven’t mentioned yet but is off massive importance for the story telling aspect of War Horse is the large projection on to a cloud above the stage; throughout the story, drawings and animations are shown. This adds another dimension to the story, and without spoiling the show for those who haven’t seen it without these images the story wouldn’t be as complete.
Act 2 is spectacularly beautiful and sad. We are shown both the loss on the home front and the front line. However instead of just being shown the fighting aspects we are also shown how the Germans used the horses to move machinery around and pull carts, we follow Albert and Topthorn on their journey through France and whether or not they get the happy ending they deserve. We also see the cruel side when the horses go lame they are no longer required, something that although normal is still shocking to see.
“The puppets in the show are only wood, however it is our imaginations that make them real.” This is how the play was described by Tom Morris at the end of yesterday’s special 10th anniversary show, and I believe this is the perfect way of describing the complexity and beauty of War Horse.
I don’t want to give too much more away but if you have the opportunity, go and watch War Horse- it is not to be missed.
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