Posts with the label plays
Showing posts with label plays. Show all posts
Showing posts with label plays. Show all posts
Monday 27 May 2019
Henry V, Barn Theatre | Review
Henry V
Barn Theatre
Reviewed on Friday 24th May 2019 by Olivia Mitchell
★★★★
Shakespeare's plays are a regular feature in the theatrical circuit but the Barn Theatre have switched it up by modernising and refreshing Henry V to make it appealing to a younger audience, as well as Shakespeare enthusiasts. Whilst the play has been brought to a more modern time, it maintains the classic Shakespeare feel.
The design by Benjamin Collins utilises technology through video projection which creates a visceral experience as it bombards up with varying imagery that flashes before our eyes. Familiar images pop up as the King's death is played on a news channel and ambassadors meet in a staged fashion. The new king Harry is also shown living it up with his people as he drinks and sways among strobes and techno music.
Aaron Sidwell brings a charisma alongside a darkness to the title role as he charms those around him, whilst fighting for what he believes is right. He wises up through his journey as a leader and realises the importance of amity as he extends an olive branch to Katherine after the slaughter of her people.
The eight strong cast do a fantastic job of keeping their energy extremely high throughout. Their swift moments and precise transitions are incredibly well carried out as they bring varying character to life through action which even spreads to the audience at times. This production cleverly balances high intensity and noise, with moments of calm and serenity. Mention must go to Lauren Samuels who is endearing and humours as her various characters and speaks French like she's a native.
The Barn Theatre's Henry V is an inventive and entertaining treat. A strong, well directed cast bring a classic to life with a verve and energy that should be seen and appreciated.
Henry V runs at the Barn Theatre until 22nd June 2019
photo credit: Eve Dunlop
Wednesday 22 May 2019
Vincent River, Trafalgar Studios | Review
Vincent River
Trafalgar Studios
Reviewed on Tuesday 21st May 2019 by Olivia Mitchell
★★★★
Vincent River written by Philip Ridley is a thought-provoking, highly-moving play which focusses on hate crime in the LGBTQ+ community whilst delicately and truthfully studying grief. Premiering almost 20 years ago, it's striking how relevant this play remains.
A teenage boy dressed in all black with an eye the colour of coal to match it turns up at a grieving mother's flat. Davey has been following Anita for weeks from a distance. But she's spotted him. He's the boy who discovered her son's dead body. She welcomes him in and it's clear the pair have a lot to discuss.
Ridley's fast-paced text allows both actors to bounce off one another, whilst embodying their own sense of ambivalence. Louise Jameson is a master of nuance. The wrenching emotions within her are delicately contrasted by her motherly figure as she supports Davey and his own struggle. Her raw grief and guilt is portrayed in an utterly truthful way which makes this already devastating story, even more traumatic.
With his South London accent, Thomas Mahy is both commanding and vulnerable. His evident denial is portrayed in a very different way to Jameson which makes the pair's discussions even more striking as the balance tips between them.
Robert Chevara directs a supremely subtle show which emphasises humour as well as horror. Ridley's writing moves from poetic to brutal as if they're entwined together and creates a play which enthralls throughout.
This is a devastatingly beautiful play which is performed so well by two nuanced actors. Fast paced, aggressive sections are perfectly contrasted by moments of unspoken emotion which cut to the core and evoke feelings of heart-break but also glimmers of hope.
Vincent River runs at Trafalgar Studios until June 22nd
photo credit: Scott Rylander
Tuesday 30 April 2019
Emilia, Vaudeville Theatre | Review
Emilia
Vaudeville Theatre
Reviewed on Monday 29th April 2019 by Olivia Mitchell
★★★★
A transfer from the Globe, Morgan Lloyd Malcolm's play about the 17th century poet Emilia Bassano Lanier is already receiving highly positive acclaim as it rouses audiences to their feet night after night. The emotive feminist speeches and fantastically comedic setup of the whole show, make it entertaining, informative and transformative.
It's incredibly encouraging to hear unashamedly feminist words be spoken and performed by such a diverse, encompassing, all-female cast. Despite Emilia being a huge part of feminist history as one of the first published female poets, she has been brushed under the carpet for years. Lloyd Malcolm has made an excellent choice to shine a light by using Emilia's rhetoric to discuss the centuries-long oppression of women. The issues, though different in today's context, are still painfully relevant and Lloyd Malcolm's clever twist on language mixes the past and present wonderfully. Nicole Charles' playful direction also helps make the show buoyant and engaging.
Charles has three actresses (unified by their blue dresses) take on the role of Emilia at different stages of her life. Little is factually known about her life so poetic license is taken as she travels through her introduction to court, motherhood and time as a teacher. The mental growth of Emilia is physically shown as she changes person after life altering moments.
Saffron Coomber, Adelle Leonce and Clare Perkins are exceptional in their roles, thriving both in their individual moments and even more so when they support one another. Emilia is supposedly the 'dark lady' in Shakespeare's famous sonnet, an idea which Lloyd Malcolm has really zoomed in on. The love affair between Emilia and Shakespeare fizzles as Emilia struggles with not being offered the same as him, her male counterpart. Charity Wakefield expertly takes on the role of the famous writer who is witty but insecure and self-absorbed as he exploits Emilia for her words.
The dense plot flows well, and efficiently highlights a number of struggles faced by women. Whilst entertaining, the 'south of the river' women Emilia teaches, do lack some dimension but help the story flow. Equally, the occasional parallels to modern immigration are a little lacking but provide food for thought in their brief moments.
The heart of Emilia and the heart of this piece is anger. In a unsubtle but completely justified way, Perkins closes the show with a magnificently stirring speech which calls for female empowerment. This is a modern musical that shows just how strong women are. The inclusivity of Emilia must also be applauded in terms of it's cast and audience. From a baby friendly performance to last nights captioned show, this is a musical for now in so many ways. If you need motivation, go see this show.
Emilia runs at the Vaudeville Theatre until 1st June
Wednesday 24 April 2019
The House on Cold Hill (UK Tour), New Victoria Theatre | Review
The House on Cold Hill (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 23rd April 2019 by Natalie Parsons
★★★
Ollie Harcourt and his family have bought the house of their dreams in the
country, but it is not as idyllic as it sounds!!
This old mansion has a chequered
history which explains why it has been empty for forty years. It is not long
before the Harcourt family begin to realise that they are not the only residents of the house.
The House on Cold Hill has the chill of the usual ghost story, such as Woman in Black but with a modern twist. It’s set in the present day in a house packed
with modern technology – laptops, WIFI and leading lady Alexa. The modern influence makes the show feel more relatable, however, at
times the suspense and thrill becomes overshadowed by the comical
intervention of the script.
Credit must go to the cast for portraying a modern professional family with Joe McFadden
as Ollie, the former advertising man who's now setting up his own web design
company; Rita Simons as his wife Caro, the practical and factual Solicitor and daughter Jade played by Persephone Swales-Dawson as the petulant teenager.
Joe McFadden delivers a solid transition from joyful Ollie as his bubble is burst. From being exuberant about the move and the opportunities the house
provides he is sent into disbelief as he accepts that there may be something
sinister going on and the realisation that his family may be in terrible danger.
Rita Simons, his wife Caro, is the more practical of the two when things go
wrong and more willing to believe what she’s experienced. There is good
chemistry between the cast and they all support each other well, to deliver a
solid delivery of the plot. At times the suspense is broken by a
change of direction to light heartedness so you aren’t sure if it is a thriller or
light comedy.
I think fans of Peter James may be slightly disappointed with the
adaptation of the book to stage and may find that the transition to stage
has lost a certain amount of the thriller element. But The House on Cold Hill does
create some spooky moments, with some good stage effects.
The play is
performed well by the cast with special mention of Persephone Swales Dawson
performance. The use of Alexa in this modern thriller was ingenious!
The staging, lighting, costumes and scenery were excellent. I enjoyed the play
but can’t say I loved it.
photo credit: Helen Maybanks
Thursday 4 April 2019
Going Through, Bush Theatre | Review
Going Through
Bush Theatre
Reviewed on Wednesday 3rd April 2019 by Olivia Mitchell
★★★★
The UK premiere of Estelle Savasta's play (translated by Kirsten Hazel Smith), Going Through is a story about the journey's child migrants take, and the people they leave and meet along the way. The play combines English, British Sign Language and Creative Captioning to create a visceral production for both deaf and hearing audiences.
Going Through is not only a fantastic theatrical piece because of the realities it is bringing to the forefront of our minds; but because the story-telling itself is so superbly done. You almost forget these are not in the moment, real life actions being carried out in front of you. Simplistic and well defined, this two person show is enough to warm and break your heart at once.
Nadia Nadarajah and Charmaine Wombwell give utterly enchanting performances that are engaging and rarely give up. The use of sign language cleverly highlights how language can both involve and isolate. It's also extremely moving to see how Nour (Wombwell) must dress up as a boy to make the journey from her troubled homeland to the UK. This act of masculinity where she comes face to face with the male traffickers on her tough journey, is in fact, what characterises her journey into womanhood.
Whilst it certainly glosses over the real hardships of both Nour and Youmna's journeys, this play is a delicate study of human emotion and relationships. Both performers do particularly well at showing their internal emotions through slight movements. As Youmna, Nadarajah is expressive and magical. Providing warmth and puppetry, she is a heart-warming character who celebrates love. Wombwell creates a wonderful emotional arc as Nour as she envelops us in her story. The pair perfectly interact with one another in this story which thrives on communication.
A touching and compelling 75 minute piece of theatre, there's not much you can fault with Going Through. The journey and thoughtfulness of this production is truly something special and it deserves to be appreciated and acclaimed.
Going Through runs at the Bush Theatre until 27th April 2019
photo credit: Ali Wright
Wednesday 3 April 2019
Abigail's Party (UK Tour), Orchard Theatre | Review
Abigail's Party (UK Tour)
Orchard Theatre
Reviewed on Monday 1st April 2019 by Holly Bridges
★★★★★
I am a huge fan of Mike Leigh’s classic play Abigail’s Party, therefore it is difficult to imagine any current touring production doing it justice. However, upon entering the Orchard Theatre auditorium, and being transported back to the Seventies via an impressive set, complete with brown décor and cheese plants, any apprehensions regarding Sarah Esdaile’s version quickly subside.
As our hostess with the ‘mostess’, Beverly Moss sashays into the room to the sounds of Donna Summer, complete with long, printed maxi dress and a drink in hand, it is clear she is out to impress. This role was famously played by the inimitable Alison Steadman in the original, and whilst these are gold heels which are impossible to fill, Jodie Prenger is excellent as Beverly.
We watch as Beverly’s stressed husband, Laurence (played by Daniel Casey) deals with yet another business matter on the telephone whilst she looks on irritably; just one of many fractious moments which go on to scatter the evening. It’s as her guests arrive that Prenger really comes into her own, with Beverly flitting between the sofa, cocktail cabinet and nibbles, all the while her shoulders arched and ready to schmooze.
Vicky Binns plays Angela, the slightly naïve and very eager to please nurse, who is new to the area and neighbour of Beverly and Laurence. She is joined by reluctant husband Tony, who sits sullenly in a chair as ‘Ange’ chatters on. Binns nails the role, with the audience darting between feelings of slight annoyance at her inane conversation, to those of pity as Tony belittles her.
Thrown into the mix of this farcical soiree is the fifth character, Sue. A middle-aged, intelligent divorcee, and now single mother, we are led to believe that Sue has been invited over by Beverly in order to ‘save’ her from her fifteen-year-old daughter’s (Abigail) party in a neighbouring property. Rose Keegan plays the part of Sue extremely well, all soft tones and worrying nods, this is a woman who is clearly out of her depth in this environment.
There is no doubt that Beverly is awful, yet she is also completely enthralling as we see her try to flirt up a storm with ‘Tone’ and attempt to haul herself up the class ladder as she makes constant comparisons between herself and her guests, whilst also force feeding them cheese and pineapple!
It is the fraught and somewhat uncomfortable moments between each of the warring couples which occasionally give the play a slightly unhappier tinge, as the sometimes-awkward laughter from the audience suggests. Beverly’s withering put-downs of Laurence, however, cannot help but draw genuine chuckles. Casey’s performance as her long-suffering partner is excellent, but let’s face it, who could ever win when up against the force of nature that is Beverly?
Abigail's Party does not disappoint, and whilst nothing could ever match up to such a classic piece of work as the original, this production is full of laughs, perfect details and moments that will leave you squirming in your seat (in a good way!) Little top-up, anyone?
Tuesday 12 March 2019
Benidorm Live (UK Tour), New Wimbledon Theatre | Review
Benidorm Live (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 11th March 2019 by Olivia Mitchell
★★★★
Camp, crude and cheesy, Benidorm Live has brought the popular TV programme to life in a fantastic way. Derren Litten's stage adaptation completely captures the feel-good essence of the programme and has the audience laughing out loud throughout.
Almost taking the form of an episode from the TV, Benidorm Live follows the staff and holidaymakers at the tattered and tacky beyond belief, Solana Resort in Benidorm. Famous faces from the series Liam (Adam Gillen), Mateo (Jake Canuso), Joyce (Sherrie Hewson), Kenneth (Tony Maudsley), Jacqueline (Janine Duvitski) and Sam (Shelley Longworth), fight to reveal and impress the undercover hotel inspectors who could lead to the shut down of the resort. The story is basic but extremely well put across; what the narrative lacks, is made up for with performance and wit.
Mark Walters' cleverly designed set, brings the hotel to life with cheer and brightness, featuring a pool side, Neptune's Bar, the hotel reception and the Blow'N'Go salon. The transitions from scene to scene are well done, especially when mini dance interludes draw the audience away from the set changes completely. By the end of the show, you almost forget you're not watching the TV, or even that you're not sitting on a Benidorm beach yourself.
Whilst the hugely enjoyable design of the show is great, it's the utterly hilarious cast who really bring it to life. Sherrie Hewson prances about barking orders to no avail. As the sleazy but adored Mateo, Jake Canuso is outstanding and he tries (and fails) to seduce the hotel's guests. Particularly impressive is the link to Canuso's past, where he shows off some of his sharp, supported dance. Janine Duvitski gives one of the wittiest, most innuendo rife performances ever. Her play on words and general larger than life persona, makes her a definite audience favourite, gaining laugh after laugh. Adam Gillen's Liam is endearing and wonderful, as is his partner in crime, Kenneth, played as camply as possible by Tony Maudsley. Asa Elliot as himself, provides some great vocals. As the middle-class holidaymakers who find themselves at the Solana when their dream hotel is overbooked, Tricia Adele-Turner and Bradley Clarkson give buoyant performances as Sophie and Ben.
Derren Litten's stage debut should be applauded as he creates a rowdy night out that is easy to follow but still highly entertaining. A saucy, seaside postcard of a show, Benidorm Live is sure to delight fans of the series and newbies alike as they take a carefree, innuendo-filled trip to sunny Spain.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
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
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
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