tag:blogger.com,1999:blog-34390843347882689242024-03-23T10:13:38.469+00:00What's Peen Seen?<center>We've moved! Please head to http://www.whatspeenseen.co.uk for our brand new website! </center>Anonymoushttp://www.blogger.com/profile/17616812427893082415noreply@blogger.comBlogger280125tag:blogger.com,1999:blog-3439084334788268924.post-92224284985035254532013-03-16T20:45:00.007+00:002013-03-18T07:46:10.692+00:00We've Moved!...... to a brand spanking new website!<br />
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You may have been directed to this Blogspot page through one of our old links, but to check out our brand new website with all of the latest updates, offering a whole lot more, than head to <a href="http://www.whatspeenseen.co.uk/">http://www.whatspeenseen.co.uk</a> straight away.Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-3439084334788268924.post-68571113105214669772013-03-12T12:10:00.000+00:002013-03-12T12:10:51.690+00:00Ballet Revolución - review<span style="font-family: Trebuchet MS, sans-serif;">Written By: <span style="background-color: white; color: #333333; line-height: 17px;"><a href="http://www.blogger.com/profile/13003945720891312330" style="color: #3244ff;" target="">Anna Jones</a> (</span><span lang="FR" style="background-color: white; color: #333333; line-height: 17px;"><a href="https://twitter.com/now4567anna" style="color: #6666cc; text-decoration: none;" target="_blank">@Now4567Anna</a>)</span></span><br />
<span lang="FR" style="background-color: white; color: #333333; line-height: 17px;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span>
<span style="color: #333333; font-family: Trebuchet MS, sans-serif;"><span style="line-height: 17px;"><b>Sadler's Wells, London</b></span></span><br />
<span style="color: #333333; font-family: Trebuchet MS, sans-serif;"><span style="line-height: 17px;"><b>****</b></span></span><br />
<span style="color: #333333; font-family: Trebuchet MS, sans-serif;"><span style="line-height: 17px;"><b><br /></b></span></span>
<span style="font-family: Trebuchet MS, sans-serif;"><i>Ballet Revolución</i> is described as dance theatre in the programme forward from Lise Smith, but it's not really dance theatre; it's a dance bonanza demonstrating all that these exceptionally talented Cuban dancers can do. A fusion of ballet, contemporary, hip hop, Samba, and rumba which is linked by the overall theme of sensuality and celebration thereof. The choreography by original Tap Dog dancer Aaron Cash and Roclan Gonzalez Chavez is extremely crowd pleasing and their fusion of classical ballet with hip hop and contemporary causes many a gasp from the audience.</span><br />
<a name='more'></a><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrt4Dya3mXodAATOdV7XKP-kNNa1i_IYczLm9dMdj3dGjKXg4C986EYUB_QDNmYtQ0vQYQdFrugkLD1R9Sxt62k21pdhCoaO03VJex4sgVBtJzy2809fNbEtpuIXtxhV1WBXH_BoHPUcSM/s1600/ballet+revolucion.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrt4Dya3mXodAATOdV7XKP-kNNa1i_IYczLm9dMdj3dGjKXg4C986EYUB_QDNmYtQ0vQYQdFrugkLD1R9Sxt62k21pdhCoaO03VJex4sgVBtJzy2809fNbEtpuIXtxhV1WBXH_BoHPUcSM/s400/ballet+revolucion.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Dave Morgan</span></i></td></tr>
</tbody></table>
<span style="font-family: 'Trebuchet MS', sans-serif;">All of these dancers are soloists, there's no hiding in the back of the chorus line, however this does mean that the ensemble numbers don't always maintain a group focus when they are dancing in unison, but quite frankly they are all so impressive it just doesn't seem to matter. </span><br />
<span style="font-family: Trebuchet MS, sans-serif;"></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"></span>
<span style="font-family: Trebuchet MS, sans-serif;">Jesús Elias Almenares draws the eye wherever he is - not just because he is a gifted dance professor but because his dance is not confined to his body; his experience of the movement shows on his face. In short he is a star because he dances and acts. This is a little lacking in other dancers who perform to fantastic music from the live band lead by Music Director Osmar Salazar Hernandez, but sometimes look rather stoney faced whilst doing so. </span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">It's very self indulgent - but why else are we here but to see a company of highly gifted multi-disciplined dancers from Cuba? We aren't here for a story, although at times it might be nice for the pieces to tie together with a little more sense. but they're from Cuba, they know how to love and dance with passion beyond our polite English applause which takes a little while to warm up. Once it does however, they receive a well deserved standing ovation and they reward us with a fantastic encore.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 23 March 3013</span></i><br />
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.sadlerswells.com/show/Ballet-Revolucion-2013" target="_blank">http://www.sadlerswells.com/show/Ballet-Revolucion-2013</a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">@Sadlers_Wells</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
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Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-38509516172811204582013-03-11T20:34:00.001+00:002013-03-11T20:34:59.869+00:00Lysistrata - review<!--[if gte mso 9]><xml>
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<span style="font-family: Trebuchet MS, sans-serif;">Written by:
<a href="https://plus.google.com/104000012499683413678/posts">Andrew Crane</a> (<a href="http://www.twitter.com/andrewrcrane" target="_blank">@AndrewRCrane</a>)</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US">Riverside
Studios, London</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US">***</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">It’s every
serious theatergoer’s nightmare; turning up to the theatre only to find that
you’re sharing the experience with a gaggle of giddy GCSE Drama students.
Fortunately this particular group seemed well trained in theatre etiquette and they
were perfectly amicable throughout the performance – well done to whichever
school they were from. As much dread as they instilled it quickly became
evident that they were the target audience for Theatre Lab’s musical and
modernised adaptation of <i>Lysistrata, </i>an
entertaining and raunchy affair that opts out of substance in favour of
low-brow comedy.</span> </span></div>
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<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoy6SD-KUj6Meg0uWf6uxQTlzPvG3J8MSLxcvgN31dGHEGjlKxr3glBxS6LleOVgRQ5ZEv-L10ZTlwbnDYK_OOjvJF8Q2TlfXyGNgIo61qfaDMk7ieW452IKDkxmAbCf9kTRTJuy_3g4UQ/s1600/lysistrata.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoy6SD-KUj6Meg0uWf6uxQTlzPvG3J8MSLxcvgN31dGHEGjlKxr3glBxS6LleOVgRQ5ZEv-L10ZTlwbnDYK_OOjvJF8Q2TlfXyGNgIo61qfaDMk7ieW452IKDkxmAbCf9kTRTJuy_3g4UQ/s400/lysistrata.jpg" width="400" /></span></a></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">The plot is
simple enough, the women of Europe (originally Greece) attempt to stop the EU
financial crisis (originally Peloponnesian war) by withholding sex from men
until they agree to put a stop to it.
In adapting Aristophanes’ classic
comedy<i> </i>to the backdrop of the modern day EU crisis, Theatre Lab
Company laid themselves a feast of opportunities to delve into feminism and
political comment. Aside from Lysistrata’s ‘Pussy Riot’ T-shirt there was very
little in the way of serious feminist ideas, and it was certainly no Enron when
it came to exploring financial crisis. Although a valiant effort to give a modern context to the
play, in order to shoehorn the EU theme in, it had to become black and white
enough for the women to essentially be able to say ‘stop it’ to the men in charge, and as
a result it was tricky to find anything that warranted the use of this context.
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">Theatre Lab
basically used the EU backdrop as an excuse for garnering laughs from cultural stereotypes
and this unfortunately detracted from any possible feminist comment as the
women (and men) were lacking any real depth. That being said, the raunchy
Spaniard, the efficient German, the seductive French belle etc. were all very
entertaining, and Annabelle Brown as Lysistrata was thankfully unhindered by a
stereotype and subsequently confidently drove the piece forward.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">The music
of the piece, with instrumentals provided live by duet Daemonia Nymphe, served
its purpose in bringing energy to the piece, but none of the songs were
particularly memorable. The cast seemed much more at home performing physical comedy, with stand out scenes such as the group of desperately horny women attempting
to escape from the an encircling hula hoop, or the men with their completely excessive (and occasionally fragile) balloon phalluses; they were easy laughs, but laughs nonetheless. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">What this piece lacked in depth or meaning, it made up for
in entertainment and the result is a watchable but ultimately unsatisfying piece
of theatre. Where this piece does
fully succeed however is in bringing Greek theatre to a new generation. Theatre
Lab do extraordinarily well in drawing every bit of possible comedy from the
original source material and in doing so they’ve created a door into a world of
theatre often portrayed as reserved for the academically elite, that in
itself is a highly commendable achievement. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 23 March 2013</span></i></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1350999581" target="_blank">http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1350999581</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">@RiversideLondon</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="https://twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com2tag:blogger.com,1999:blog-3439084334788268924.post-15008218346102923672013-03-11T15:00:00.000+00:002013-03-11T15:00:08.077+00:00Making Dickie Happy - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/13440584369309797784">Jessica Lorimer</a> (<a href="http://www.twitter.com/jesslorimer3" target="_blank">@JessLorimer3</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Tristan Bates Theatre, London</span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">***</span></b><br />
<br />
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<span style="font-family: Trebuchet MS, sans-serif;">Plenty of long stemmed cigarettes, bourbon on the rocks and
bed-hopping contribute to a world of 1920’s glamour for Jeremy Kingston’s <i>Making Dickie Happy</i>. A tentative
exploration into the meeting of Agatha Christie (Helen Duff) and Noel Coward
(Phineas Pett) on the cusp of their subsequent stardom awaits avid fans of both
authors.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">The plot is simple; a chance meeting of Christie, Coward and
his friends at a small hotel that they all frequented in reality. With witty
repartee, the audience discovers how Lord Mountbatten’s “splendid idea” helped
Christie catapult to fame as a writer – and her own internal battles around the
morality of the intentional deception of her readers. Whilst Christie struggles
with the whitest of lies, Coward and his friends; Lord Mountbatten, Tono and
J-Boy thrive on a web of deceit and enthral the audience with their creative
opinions on relationships, and their common fascination with the eminently
attractive waiter, Cyril (Rob Pomfret).<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The writing has a stichomythic quality and keeps the
audience waiting for the next riposte, but the constant wit means that more
serious subjects, such as Christie’s dilemma with deliberate deception, lose
some of their importance. Fans of Coward’s work however, will be impressed,
especially with Pett’s delivery and portrayal of the frankly charming young man.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The acting is good; a notable performance from Duff. Her interpretation
of a nervous but excitable Christie will please fans and showed the dilemma
facing a woman, excited by the prospect of writing murder mysteries but subjugated
by her personal life as “a wife and mother with other priorities”.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">David Alderman (Tono) and Matthew Alexander (J-Boy) give
solid performances and James Phelips shines as the clearly emotionally
repressed Lord Mountbatten. His constant insistence that he loves the absent
Edwina are amusing and yet slightly concerning as his plot for Christie’s novel
is revealed. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Pomfret reprises his role as Cyril and does well with minimal
speech but top class eyebrow raising; his dishy good looks and seemingly
endless supply of alcohol go down a treat with Coward and Co and his outwardly
innocent reactions to tongue in cheek demands for “more cock...tails” are
always followed with a cheeky wink at the audience.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Pett is the star of the show however. A booming RP accent
and his fanciful musings catapult the audience into his fairly idyllic world.
Despite his nervousness at the beginning of the show, Pett settled into
character well and delivered his lines with a (very camp) grace. His
interactions with other characters, particularly Tono, were fantastic and
demonstrated an open man, confident in his homosexuality - but only in his own
group of friends.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Overall, it’s an interesting piece. Whilst the concept is
good, it’s a fairly slow-burner and the demand on the audience’s attention to
the writing itself, is high. It does, however, give a good insight into a world
affected irrevocably after the First World War, and the small flourishing of
artistic endeavours. It’s just a shame perhaps that the surface glamour does
not seem to be exploring the hidden, darker depths of the various personalities
– but as I leave into a cold March evening, with the rain pouring and a long
walk back through London’s centre, I think of the well represented “bright
young things” and long for their positive outlook, not to mention a warming
glass of whiskey for the journey home.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 30 March 2013. </span></i></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.tristanbatestheatre.co.uk/Making_Dickie_Happy.asp" target="_blank">http://www.tristanbatestheatre.co.uk/Making_Dickie_Happy.asp</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">@TristanBates</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-88674004956553468092013-03-11T11:19:00.004+00:002013-03-11T11:19:25.773+00:00Dracula - review<a href="http://2.bp.blogspot.com/-9WwxWVb4Jyo/UDrQbWEPeoI/AAAAAAAAAg8/wv3Red1FQNQ/s1600/Me.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-9WwxWVb4Jyo/UDrQbWEPeoI/AAAAAAAAAg8/wv3Red1FQNQ/s1600/Me.jpg" /></a><span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/08181256758000781459">Tom Woods</a> (<a href="http://www.twitter.com/thomas_e_woods" target="_blank">@Thomas_E_Woods</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Where did Woods watch it?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">Fairfield Halls, Croydon</span><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">Was Woods won over?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">**</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Trebuchet MS, sans-serif;">Vampires
have become something of a hot topic in recent years, and with the tagline ‘The
Original <i>Twilight</i>’, Ninon Jerome’s
production of <i>Dracula</i> sounds keen to
put all these new vampires in their place by bringing Bram Stoker’s original
bloodsucker to a modern day audience. Sadly, any clever exploration of themes,
and how they relate to the 21st century, is lost in the confusing direction and
a myriad of poor design decisions.</span></div>
<a name='more'></a><br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Trebuchet MS, sans-serif;">One
might perhaps place the fault with Liz Lochhead’s script, which in itself seems
just as confused, clinging to ham-fisted modernisations: it combines, for
instance, archaic speech with jokes ending with the punch line “P45”. More
often than not, the girls Lucy, Mina and Florrie come across as Disney channel
renditions of Jane Eyre, throwing around the word “silly” as if it were going
out of fashion. But for all the text’s faults, the production does not help. <o:p></o:p></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-3RUQOspatjc/UT29YwxMioI/AAAAAAAACVs/WnNvtggnBl4/s1600/Cast+of+Dracula+-+rehearsal+photo,+please+credit+TigzRiceStudios.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="213" src="http://4.bp.blogspot.com/-3RUQOspatjc/UT29YwxMioI/AAAAAAAACVs/WnNvtggnBl4/s320/Cast+of+Dracula+-+rehearsal+photo,+please+credit+TigzRiceStudios.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Tigz Rice Studios</span></i></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Trebuchet MS, sans-serif;">Costumes
often feel out of place for the characters wearing them – a prime example is a
young successful lawyer jetting off to finalise a deal in chinos and a
turtleneck. Props seem inserted into scenes for no apparent reason, yet the
actors often cling to them like lifelines. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Trebuchet MS, sans-serif;">Energy
is another thing sorely lacking in the production. Scenes feel lacklustre at
times, and scene changes do not match up with the woefully misguided music
choices, which accompany the piece all too often without adding anything to it.
On the whole, the play feels utterly confused, not quite sure whether it wants
to portray a modern adaptation or remain true to the gothic roots of <i>Dracula</i>, and fails to achieve either.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Trebuchet MS, sans-serif;"><br />
The highlights of the production might be few and far between, but Jay Worthy’s
Renfield is fantastic. Whilst the character’s maintained presence on stage
through the majority of the play serves no purpose, with reasons that seem
arbitrary, it shows a real strength in Worthy’s performance. By far the most
watchable character, and strongest actor, he is one of the few diamonds in the
rough. Equally, the very brief moment (which, unsurprisingly, stars Renfield) in
which three scenes occur simultaneously is almost effective, albeit shoehorned.
One can’t help but feel that it could have been the highlight of a better
production. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Trebuchet MS, sans-serif;">Ultimately,
it seems that Jerome has bitten off far more than she can chew. A smorgasbord
of influences and conventions lead to a play that is illegible at best,
confusing and disappointing at worst. The text might have shown promise with a
stronger direction, but in the end it feels that this is one revival that might
have been better off left buried. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<i><span style="font-family: Trebuchet MS, sans-serif;">This production has now closed.</span></i></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <span style="color: windowtext;"><a href="http://www.fairfield.co.uk/offers/offerpages/offer2.htm" target="_blank">http://www.fairfield.co.uk/offers/offerpages/offer2.htm</a></span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="FR" style="color: windowtext; mso-ansi-language: FR; mso-bidi-font-family: "Helvetica Neue"; mso-bidi-font-size: 18.0pt; text-decoration: none; text-underline: none;">@FairfieldHalls</span><span lang="FR"> </span><span lang="FR" style="color: windowtext; mso-ansi-language: FR; mso-bidi-font-family: "Helvetica Neue"; mso-bidi-font-size: 18.0pt; text-decoration: none; text-underline: none;">@itsmacho</span><span lang="FR"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-35510437368167600302013-03-10T18:29:00.000+00:002013-03-10T18:29:01.311+00:00Black Pudding - review<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="https://plus.google.com/107014803127401451080/posts">Kirstie Ralph</a> (<a href="https://twitter.com/kjralph" target="_blank">@kjralph</a>)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Trebuchet MS, sans-serif;">The Bussey Building, London</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Trebuchet MS, sans-serif;">****</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The first night of Wind-Up
Collective’s quirky cabaret <i>Black Pudding</i>
is a triumph, striking the right balance between the entertaining,
thought-provoking and simply bizarre. The company succeed in bringing to life
the fairy tale stories of childhood, with an extra helping of silly audience
interactions and melodrama. References range from Made in Chelsea-type shows to
general pop culture, to add some 21<sup>st</sup> Century spice to stories we
think we know. The Bussey building café, located in Peckham Rye, is a gem of a location
for this show, providing the informal atmosphere needed to stage a performance
of this nature.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWN_viEDQG0i20ecuF4Ebb1Pz7rjTSVX5g_WQcrNR9HBchyphenhyphenE5u2dMtQA92I8FwNHI5gB4Wsam6lXaJCsRlR5GZ6HYqZW3F6BrRh0h-3WjjmrPInt5C5xJzT3JIcVNyypnbmSc74A8oVwwt/s1600/Black+Pudding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWN_viEDQG0i20ecuF4Ebb1Pz7rjTSVX5g_WQcrNR9HBchyphenhyphenE5u2dMtQA92I8FwNHI5gB4Wsam6lXaJCsRlR5GZ6HYqZW3F6BrRh0h-3WjjmrPInt5C5xJzT3JIcVNyypnbmSc74A8oVwwt/s400/Black+Pudding.jpg" width="400" /></span></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The village fete bunting
overhead, coupled with candle lit tables and the offer of cake at the bar made
for a relaxed ambience, settling the audience into the mood for something a
little different. It also complemented the entire premise of the piece,
revolving around a house party with all the juiciness, like any good house
party, happening in the kitchen. As told by the narrator the Old Man, our host
is Madge/Mitch, a husband and wife split, with Madge attempting to make a
carrot cake for her abusive husband. “Barbara”, one unsuspecting audience
member, is called upon for help but unfortunately over whips the cream. These
moments are priceless, paying tribute to the group’s vision and ability to
create immersive yet non-awkward theatre. Madge/Mitch’s annual performance,
performed by one of the company at a piano, was an innovative scene made more
impressive by the time which had evidently gone into rehearsing it. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Live music added to the tone of
the performance with an impressive original soundtrack; a niche element that audiences
expect from a dynamic new theatre company. At some stages the dialogue could
have moved into song more smoothly, though overall the homemade music added to
the rich fabric of what was on offer to us. The Big Bad Wolf stole the show,
with his underdog status and role as the misunderstood party crasher, miming and
prancing around to ‘Big Spender’ and ‘Goldfinger’. The ensemble singing in harmony
and echo was fantastically witty, as well as the sneers of Clichéah, although a
stronger commitment to these select moments would have increased their
effectiveness twofold. The same can be said for the use of movement in the
finale and periods of sustained dialogue between the two “romantically
inclined” characters Dolly and Bluebeard. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The plot was difficult to identify,
with a narrative thread lost in the change in character focus. It turns out
that the Old Man’s story wasn’t all it seemed, with Goldilocks seemingly in
danger from his perverted advances. The others confront him, and encourage us
to write our own narratives, and not relying on<a href="http://www.blogger.com/blogger.g?blogID=3439084334788268924" name="_GoBack"></a> those
before us. Although this could have been made more prominent throughout, it did
make the ending more memorable. The company are evidently hardworking and the
chemistry between them is infectious. For such an ambitious show, the end
result was a resoundingly positive one. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<div style="text-align: left;">
<i><span style="font-family: Trebuchet MS, sans-serif;">This production has now closed.</span></i></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://wind-upcollective.com/Wind-Up_Collective/PRODUCTIONS.html">http://wind-upcollective.com/Wind-Up_Collective/PRODUCTIONS.html</a></span></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">@BusseyBuilding @WindUpCollectiv</span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
</div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="https://twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-86157226711052717282013-03-10T17:49:00.000+00:002013-03-10T17:49:22.351+00:00Mydidae - review<a href="http://1.bp.blogspot.com/-Jwzth0vjo9Y/UDrSwN3MvkI/AAAAAAAAAhk/GsBo7j_nIKg/s1600/552518_3605175490969_879069265_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Jwzth0vjo9Y/UDrSwN3MvkI/AAAAAAAAAhk/GsBo7j_nIKg/s1600/552518_3605175490969_879069265_n.jpg" /></a><span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/17616812427893082415">Peeny</a> (<a href="http://www.twitter.com/adampeeny" target="_blank">@AdamPeeny</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Where's Peen been?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">Trafalgar Studios, London</span><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">Was Peen keen?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">*****</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">There must be something in the water at
Trafalgar Studios – that’s right, the actual, flowing water that they use in
this production – to help make it so damn brilliant. It’s a good job it is so
fantastic, to make all of the plumbing work worthwhile.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Simon Annand </span></i></td></tr>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">Set entirely in Marian (Phoebe
Waller-Bridge) and David’s (Keil Charles) bathroom, this young couple’s current
life and saddening past unfold simultaneously. What we learn about them is
completely unexpected, breathtaking and heartbreaking; this production packs
all of the punch necessary to very nearly evoke a physical reaction at the
pinnacle moment, never mind just moisten eyes. From the very beginning, we care
about both characters; they’re adorable as a couple, both hilarious in their
own ways but most of all, they’re entirely realistic and likeable.
Waller-Bridge and Charles both deliver sensational performances to bring
raucous laughter and gasps throughout. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">This is a DryWrite production, and they’re
a company that set out to challenge playwrights. Granted, I’m sure it was a
struggle to “write a play set in a bathroom”, but the fantastic Jack Thorne
rose to the challenge with a new play that deserves much more stage time.
Thankfully, it has been given this second run so soon after its premiere run at
Soho Theatre at the end of 2012, and the whole cast and creative have done
nothing but go from strength to strength. It brings about a tension that is
almost unbareable but so superbly captured between the writing and both
performers.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Simon Annand </span></i></td></tr>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">Amy Jane Cook has designed a set so
brilliantly like any bathroom you would expect to see; it feels somewhat
invasive of Marian and David’s privacy. Since its debut at Soho Theatre, this
production comes back as one of the most
arresting, shocking plays I’ve ever seen. It tells tales of love and commitment
to a whole new level. Two handers like this bring about a whole new
appreciation for live performance, and what this faultless cast and creative
have managed to create is pure magic. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;"><i>This production runs until 30 March 2013. </i></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.atgtickets.com/shows/mydidae/trafalgar-studios/" target="_blank">http://www.atgtickets.com/shows/mydidae/trafalgar-studios/</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">@TrafStudios </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-91876392207875394112013-03-09T15:43:00.001+00:002013-03-09T16:50:08.179+00:00Purple Heart - review<!--[if gte mso 9]><xml>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12pt;">Written by: <a href="http://www.blogger.com/profile/13003945720891312330" target="">Anna Jones</a> (</span><span lang="FR" style="font-size: 12pt;"><a href="https://twitter.com/now4567anna" target="_blank">@Now4567Anna</a>)</span><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="font-size: 12pt;">Gate</span></b><span style="font-size: 12pt;"> <b>Theatre, London</b><o:p></o:p></span></span></div>
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<span style="background-color: white; font-family: 'Trebuchet MS', sans-serif; font-size: 12pt; line-height: 12.75pt;">*****</span></div>
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<span style="font-size: 12pt;"><span style="font-family: Trebuchet MS, sans-serif;">
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<!--[endif]--><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12pt;">Bruce Norris is a master manipulator of language;
his play <i>Clybourne Park</i></span><span style="font-size: 12pt;"> won every drama prize available to it (including a
Tony, Olivier and the Pulitzer Prize), and </span><i><span style="font-size: 12pt;">Purple Heart </span></i><span style="font-size: 12pt;">exhibits once again his deftness and skill. Superb
performances from Nathan Kiley (Thor), Rosemary Prinz</span><span style="font-size: 12pt;"> (Grace), Christopher Evan Welch (Purdy) and Laurie
Metcalf (Carla) bring to life this twisted, traumatic tale of mishandled and
misplaced love. All set against the oppressive backdrop of 1970’s Vietnam
disillusionment and domesticity. </span></span><span style="background-color: white; font-family: 'Trebuchet MS', sans-serif; font-size: 12pt; line-height: 12.75pt;"> </span></div>
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<span style="font-size: 12pt;"><span style="font-family: Trebuchet MS, sans-serif;"></span></span></div>
<a name='more'></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuHJcQ3hWPuWIVWIfzXq-AqxNdViFqYZOZYfj8xu3GLk8-nivcdkyNrytjSFe-6uPNodsc_397EPxFJtniU1gWvXwJf4plCSTRUeSJ5YgJqwGaZKZdKQc-2PGKYOIDSTjCN_GWifB-0vo6/s1600/Amelia+Lowdell+%2526+Trevor+White+in+PURPLE+HEART+%2528Image+%25C2%25A9+Hugo+Glendinning%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuHJcQ3hWPuWIVWIfzXq-AqxNdViFqYZOZYfj8xu3GLk8-nivcdkyNrytjSFe-6uPNodsc_397EPxFJtniU1gWvXwJf4plCSTRUeSJ5YgJqwGaZKZdKQc-2PGKYOIDSTjCN_GWifB-0vo6/s400/Amelia+Lowdell+%2526+Trevor+White+in+PURPLE+HEART+%2528Image+%25C2%25A9+Hugo+Glendinning%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Hugo Glendinning</span></i></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12pt;">Carla and her son Thor are coming to terms with the
loss of father and husband Larsen, all under the well-meaning eye of Grace, the
deceased's mother. But Carla is not mourning a doting husband, rather a bully
who on returning from a military tour used to "spend the first week showing
you everything you'd done wrong around the house". Then a stranger turns
up on the doorstep, penetrating their small world.</span><a href="http://www.blogger.com/blogger.g?blogID=3439084334788268924" name="_GoBack"></a><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12pt;"><br />
</span><span style="font-size: 12pt;">Norris uses clever word play between characters -
too clever to quote in this review-, </span><span style="font-size: 12pt;"> creating moments of comedy which are
funny but somehow sticky, as </span><span style="font-size: 12pt;">the shadow of grief and violence is never far away.
Director Christopher Haydon has rightly emphasised the sometimes pointedly
unrealistic rhythm of dialogue, allowing the story to unravel painfully: sometimes
slowly, sometimes at lightening speed. </span><span style="font-size: 12pt;"><br />
<br />
</span><span style="font-size: 12pt;">The design, provided by Simon Kenny (a Jerwood
Young Designer), is uncomfortably realistic, its perfect reproduction of a
1970’s front room making everything feel that bit more claustrophobic. Carla
and Thor are trapped in a confinement of beige and brown, with very little
variance of colour. </span><span style="font-size: 12pt;"><br />
<!--[if !supportLineBreakNewLine]--><br />
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<span style="font-size: 12pt;"><span style="font-family: Trebuchet MS, sans-serif;">Norris admits in his prologue that he wrote this
play during a time "when (he) had developed terrible doubts about the
nature of love and kindness". Carla and Grace, like Purdy and Thor, are
plagued by the inability to express their suffering in a way that leads to
healing. This cynicism certainly pervades throughout the production, but, overwhelmingly,
one is left with a feeling of having witnessed the work of an exceptional
playwright.<o:p></o:p></span></span></div>
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<br /></div>
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<i><span style="font-size: 12pt; line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">This
production runs until 6 April 2013. <o:p></o:p></span></span></i></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">For more information:
<a href="http://www.gatetheatre.co.uk/whats-on/purple-heart.aspx" target="_blank">http://www.gatetheatre.co.uk/whats-on/purple-heart.aspx</a><o:p></o:p></span></span></div>
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<span lang="FR" style="font-size: 12pt; line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">@gatetheatre</span></span><span lang="FR" style="font-family: Cambria; font-size: 12.0pt; line-height: 115%; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 11.0pt; mso-hansi-theme-font: major-latin;"> </span><span style="font-family: Cambria; font-size: 12.0pt; line-height: 115%; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 11.0pt; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<span lang="FR" style="font-size: 12pt; line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
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<span lang="FR" style="font-size: 12pt; line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small; line-height: normal;">Follow us on </span><a href="http://www.twitter.com/whatspeenseen" style="font-size: medium; line-height: normal;" target="_blank">Twitter</a><span style="font-size: small; line-height: normal;"> / Like us on </span><a href="http://www.facebook.com/whatspeenseen" style="font-size: medium; line-height: normal;" target="_blank">Facebook</a></span></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-74735623468873735802013-03-08T16:24:00.001+00:002013-03-08T16:24:24.679+00:00Laburnum Grove - review<span style="font-family: Trebuchet MS, sans-serif;"><span style="text-align: justify;">Written by: </span><a href="http://www.blogger.com/profile/08675901884726622140" style="text-align: justify;">Christianna Mason</a><span style="text-align: justify;"> (</span><a href="http://www.twitter.com/christianna_l_m" style="text-align: justify;" target="_blank">@Christianna_L_M</a><span style="text-align: justify;">)</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><b><br /></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><b>Finborough Theatre, London</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><b>***</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">A comedy so mellow that, were it
not for the second half, the audience would be lulled into a chuckling doze; this
play is a perfect jibe at the sleepy, comfortable middle classes of 1930’s
north London.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p><br /></span>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">George Radfern (Robert Goodale) is
a typical Radio 4 listener that likes gardening and takes pleasure in the small
things in life. Soon however, he finds himself on the receiving end of several
requests for large financial loans from his sponging in-laws and his daughter’s
dodgy fiancé. He then tricks them into thinking that he is a counterfeiter, thus
cleverly putting them off borrowing what they believe to be dirty money. As the
play progresses, however, we begin to wonder whether there is some truth to his
tale.<o:p></o:p></span></div>
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<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-QYSniJX4fWw/UToQkNlkALI/AAAAAAAACVE/3Sffy3UegWs/s1600/329396_1_production_gallery_main.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="http://4.bp.blogspot.com/-QYSniJX4fWw/UToQkNlkALI/AAAAAAAACVE/3Sffy3UegWs/s320/329396_1_production_gallery_main.jpg" width="320" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Director Oscar Toeman has done his
best with the tiny space of the Finborough Theatre, but his blocking seems to
be more suited to a proscenium arch than a thrust stage. This is especially
apparent as the thrust configuration is so deep as to be practically in-the-round.
Although the space is very limited, it still feels as if not enough attention is
given to creating interesting stage pictures. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">The pacing in the first half is
very flat, but the second half improves dramatically, partially due to the
story line, and partially due to the delivery. While Goodale has a lovely
subtlety about him, he often underplays his part of placid father, and keeps
the tempo so constant that some of his beautiful passive aggressive lines lose
their sharpness. Karen Ascoe does very well as mother Dorothy Radfern, and
feels like a breath of fresh air as she whisks through the living room, adding
nice inflections to her speech. </span><span style="line-height: 115%;">Timothy Speyer equally deserves a mention for
his wonderful rambling Uncle Bernard. He has a distinct touch of Basil Fawlty,
getting himself into ridiculous conversations and constantly harking back to his
time abroad.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">The set was well thought out and
each prop was entirely of that world. Hats off to the designer, Lily Arnold,
who seamlessly works around a completely unrelated set from another production (an
Israeli interrogation room) that could not be moved. The costumes also stand
out with some lovely period dresses and three-piece suits. </span><span lang="FR" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;">Douglas Green</span><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">‘s lighting
was interesting, although some of the changes seemed completely unnecessary,
especially when they happened halfway through a scene. </span><span style="line-height: 115%;">This is a nice rendition of a period
play, not fresh or different, but nevertheless enjoyable to watch.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<i><span style="font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">This
production runs until 19 March 2013. <o:p></o:p></span></i></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">For more
information: </span><span style="color: windowtext; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><a href="http://www.finboroughtheatre.co.uk/productions/2013/laburnum-grove.php">http://www.finboroughtheatre.co.uk/productions/2013/laburnum-grove.php</a></span><span lang="FR" style="font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 15.0pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="FR" style="color: #262626; font-size: 12.0pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 15.0pt;">@finborough</span><span lang="FR" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 15.0pt;"><o:p></o:p></span></span></div>
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<span lang="FR" style="color: #262626; font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 15.0pt;"><br /></span></div>
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<span lang="FR" style="color: #262626; font-family: Trebuchet MS, sans-serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 15.0pt;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-77087362348053458722013-03-06T15:32:00.000+00:002013-03-10T03:16:47.102+00:00Facts - review<!--[if gte mso 9]><xml>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Written by
<a href="https://plus.google.com/104000012499683413678/posts">Andrew Crane</a> (<a href="https://twitter.com/whatspeenseen" target="_blank">@AndrewRCrane</a>)<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><b>Finborough
Theatre, London<o:p></o:p></b></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><b>*****</b><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">An Israeli,
a Palestinian, and a Jew walk into an interrogation room… whilst potentially
being the set up for a rather non-PC joke, it also forms the basis of Canadian
playwright Arthur-Milner’s politically charged UK debut. And what a debut;
<i>Facts</i> is as nerve-racking as they come, blending a highly intelligent script
with a tension that grips like a vice, it’s both exhilarating and poignant.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"></span></span></div>
<a name='more'></a><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7jafUsKy5dEYsLxj9kyidpwvUlKkrXkZAWeJ3JHSHzg2nNnYrfhUpjCAORXmTpfW5d3t3IsCn29qGT1v9IcvN8Ji-OlVt-DYo8NnvctiPmaj0rynR2INI_T0TdFNgkn3b8bsqBf8zndx/s1600/Facts1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7jafUsKy5dEYsLxj9kyidpwvUlKkrXkZAWeJ3JHSHzg2nNnYrfhUpjCAORXmTpfW5d3t3IsCn29qGT1v9IcvN8Ji-OlVt-DYo8NnvctiPmaj0rynR2INI_T0TdFNgkn3b8bsqBf8zndx/s400/Facts1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Peter Marsh</span></i></td></tr>
</tbody></table>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Inspired by
the real-life murder of an American archaeologist, </span><i style="font-family: 'Trebuchet MS', sans-serif;">Facts </i><span style="font-family: 'Trebuchet MS', sans-serif;">throws together two detectives, an Israeli and a Palestinian
(and their inherent prejudices) to solve the aforementioned murder in the
confines of an Israeli interrogation room. Their investigation leads them to
bring in a Jewish settler for a very heated questioning, consequentially
thrusting their own prejudices and beliefs into the spotlight. The dingy set design
by Georgia Low, reminiscent of a run-down 50’s American diner, accentuates the
claustrophobia of the situation, compressing the pressure like
an over-inflated balloon.</span></div>
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<br /></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Milner
picked a risky topic for a play, in the sense that he’s depicting a culture not
ingrained with the audience. It’s a testament to his writing that the possibility
of this being an obstacle simply doesn’t register whilst watching. He
writes in such a way that the culture is absorbed and the tensions and
prejudices presented lose none of their impact. Although the cultural tensions
are specific, the themes of race and religion are universal and it is both
fascinating and chilling to explore their impact in these circumstances.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">The cast is
better than rock solid, with their terrifyingly brilliant characterisation
matched only by their ability to play off each other. Palestinian Khalid
(Phillip Arditti) is played with an intense calm, who whilst being the most
down-to-earth character also hints at a suppressed rage, which threatens to
ignite, courtesy of his less tactful Israeli colleague Yossi (Michael Feast),
or the chillingly fanatical Danny (Paul Rattray). Feast performs with a dark
humour and arrogance that when conflicted by his colleague and detainee becomes
completely unpredictable and Rattray as the accused Israeli Jew is sickly and
inflammatory with his prejudice fronted by a smug little smirk.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">The warning
on the exterior of the auditorium door of a gunshot was either a directorial
masterstroke or a rare gift of health and safety necessity, either way, the
knowledge of an impending gunshot made the volatile scenes almost unbearable
(in a good way). Yossi’s gun was constantly visible in its holster, and Danny’s
glock couldn’t have been confiscated more slowly; for all the tension this put
on the audience, real bullets would have probably been safer.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">At its heart,
<i>Facts </i>is a testament to just how
powerful fringe theatre can be; it’s a play that deserves a bigger audience but
would feel out of place in any larger auditorium. Everyone involved in this
production deserves commendation, serious and intimidating topics hit hard and
connect; it’s a privilege to see this production, so don’t deprive yourself of the
chance to see it.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><i>This production runs until</i> <i>23rd March 2013</i></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">For more information: <o:p></o:p></span></span><span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.finboroughtheatre.co.uk/productions/2013/facts.php">http://www.finboroughtheatre.co.uk/productions/2013/facts.php</a></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">@finborough<o:p></o:p></span></span></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-63499075879721146722013-03-05T19:01:00.002+00:002013-03-05T19:01:42.958+00:00Centre Stage on What's Peen Seen?: Jack Thorne <span style="font-family: Trebuchet MS, sans-serif;">BAFTA award-winning Jack Thorne is a writer for Film & TV, with series such as <i>Shameless</i> and <i>Skins</i> firmly under his belt. After making a brave switch to the London stage, his latest play <i>Mydidae</i> went down a treat at Soho Theatre. Having now transferred to Trafalgar Studios in London's West End, we've had a little chat with Jack to find out how he's feeling, the truth behind his latest superb project (we raved about it <a href="http://whatspeenseen.blogspot.co.uk/2012/12/mydidae-review.html#more">here</a>) and we discover why he loves his job so much. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">(Oh, and psst, we have a competition going <a href="http://whatspeenseen.blogspot.co.uk/2013/03/competition-win-signed-poster-for.html#more">here</a> until the 8th March 2013 for you to win a signed poster for this very production.)</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><b><i>Mydidae </i>is set in a bathroom and charts one couple’s relationship – can you tell us a little bit more about the play?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I always find these things so difficult. I either give too much away or make it sound horribly bland. I think we can safely say it's a play about a dark time in their lives, when they're struggling with a lot. It's trying to say stuff about the darker side of love. You see? That makes it sound horribly bland doesn't it?<u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>The new writing company DryWrite provided you with a brief – can you tell us a little bit about the process of creating/developing <i>Mydidae</i>?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">They are a company that set provocations for playwrights. That's what they've always done. This is their first full-length commission and they sent me a simple but complicated provocation - write a play set in a bathroom. That's what I tried to do. <u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>What do you hope audiences will take from <i>Mydidae</i>?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">That again I find very difficult to answer. I hope they take something. I'd feel terrible if they took nothing. But what I love about theatre is that you can sit by someone through an entire play and have an entirely different response to it. <u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>What have you enjoyed most about writing <i>Mydidae</i>?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I've spent the last two years writing mainly for film and TV - where scenes are generally between 1 and a half and 3 pages. To write something where scenes last for twenty pages is an utter joy. <u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><i>Mydidae </i>first played at Soho Theatre and is now transferring to Trafalgar Studios – what is it like having your play staged in the West End?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It's lovely for us to get a chance to do the play again so soon!<u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>You write for film and television as well as theatre – how do you adjust to writing across these different media?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It's hard to describe. It doesn't really differ between film, TV and theatre as between the projects. I've been lucky enough to be given opportunities to write a lot of different stuff and I love doing so. <u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>How important were the series’ Skins and Shameless for getting you recognised as a writer?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Hugely important and I'm hugely grateful to both shows. But more importantly they also taught me how to write. In particular, Bryan Elsley (co-creator of Skins), who helped seemingly an entire generation of writers get their first breaks in TV, was a brilliant and patient teacher. <u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Are there common themes and issues which you regard as running through all your writing?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I'm not sure. I like the idea their might be. Another teacher of mine - Simon Stephens - said that all writers have a 'myth' - a notion they return to again and again - we were encouraged to think what that myth might be - I think I decided mine was 'the problems of help'. <u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>What are you looking to for your next project?</b><u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I'm never sure what's coming next. That's one of the many things I love about my job. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i>Mydidae runs at Trafalgar Studios 2 from 5 March 2013, until 30 March 2013. </i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.atgtickets.com/shows/mydidae/trafalgar-studios/" target="_blank">http://www.atgtickets.com/shows/mydidae/trafalgar-studios/</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">@JackThorne @TrafStudios </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-26926016606071450522013-03-05T16:11:00.000+00:002013-03-05T16:11:47.838+00:00Dorothy in Oz - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="https://plus.google.com/102664001517736417592/posts">Rachel Hopping</a> (<a href="http://www.twitter.com/roadtorach" target="_blank">@roadtorach</a>)</span><br />
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<b><span style="font-family: Trebuchet MS, sans-serif;">Where did Hop pop?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">Waterloo East Theatre, London</span><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">Was it top for Hop?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">***</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="line-height: 115%;">Immersion Theatre’s raucous, hilarious take on James Michael Shoberg’s
update of </span><i style="line-height: 115%;">The Wizard of Oz</i><span style="line-height: 115%;"> traps our bipolar
heroine Dottie (tortured by the otherworldly barks of her dog Toto), in the Ozlin
Mental Health Facility. </span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">Subject to
illicit experimentation, betrayal, sexual harassment and administrative
frustration, she confronts enemies and makes lifelong friends in her quest to
find her way home. There’s flashing lights, pounding rock music and much
screaming and fighting in this stuffed-to-bursting production, which is in
parts hilarious, heartfelt, and totally unnerving.</span></span><br />
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<a href="http://4.bp.blogspot.com/-14vLhVXX1-E/UTYY44YBk4I/AAAAAAAACUc/Z7AzCSzma8A/s1600/3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="320" src="http://4.bp.blogspot.com/-14vLhVXX1-E/UTYY44YBk4I/AAAAAAAACUc/Z7AzCSzma8A/s320/3.jpg" width="213" /></span></a><span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;">Waterloo East Theatre delivers yet again as a beautiful,
welcoming space to nurture upcoming talent. The venue is lively, friendly and
the damp scent and distant rumble of overhead trains reinforce the unearthly
delights of <i>Dorothy In Oz</i>. With the
versatile space transformed to a simple ‘black box’ theatre, the venue creates
a beautifully sparse canvas for the colourful world of Oz to come alive in. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;">Kirsty Bruce positively sizzles in the title role. Sharp,
gutsy and spiky, Dottie smashes her way through Oz, befriending a heroin-addled,
goth-rocking ‘Skarekrow’ searching for willpower, an axe-wielding Rusty the tinman
with anger issues and a sex-addicted lion who just can’t seem to get his
‘Courage’ back up. It’s filled with sexual innuendo, clever puns, naughty words
and even naughtier thoughts, but there’s something about the nonchalant swagger
and unashamed punch of Immersion Theatre’s adaption which makes it utterly
delightful. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;">Some moments are eyewatering, and it’s sure to ruffle a few
feathers, but overall it’s a tongue-in-cheek rollercoaster of laugh out loud
moments and poignant evaluations of trust and friendship. Rob Tofield’s Mr
Lyons in particular exerts the perfect blend of utterly repulsive and
completely endearing, while ditzy hippy therapist Mrs Goode (played by Rochelle
Parry) and hard-as-nails secretary Miss Gates (Lisa Lynn) ham up their brazen
stereotypes mercilessly, infectiously exacerbating the lunacy of Oz through
clever puns and silly idiom. <o:p></o:p></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;">Despite this, the production is not without its flaws.
Firstly, the screams and over-zealous nature of the med-addled lab monkeys
distracts and usurps the calm, collected authority of Linda Taimre’s Wicked
Witch – infuriating in some parts, almost sloppily childish in others. However Swish,
Twitch and Grunt’s passion is admirable – it’s just a shame their story gets
lost in the howls and grunts of over-egged fight scenes, which border on the
ridiculous. Sound itself seems to be an issue for this promising company -
Dottie’s words are lost in sequences with the Wizard Dr Oz, whose booming
recording cracks over the speakers, while good jokes and clever rhymes are
missed under the cacophony of sounds which dominate the production. Some of the
writing appears unimaginative and out of place, and there’s a tendency for the
production to overspill, almost haphazardly as actors explore their characters.
<o:p></o:p></span><br />
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<a href="http://1.bp.blogspot.com/-ZZqUV3oA21k/UTYY9q2uBMI/AAAAAAAACUk/4c-PDo8NoDA/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-ZZqUV3oA21k/UTYY9q2uBMI/AAAAAAAACUk/4c-PDo8NoDA/s320/1.jpg" width="320" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;">For its minor faults, it’s a production whose energy is
utterly infectious, laugh-out-loud humourous and has no scruples in its blasé
depiction of an alternative Oz. The refreshing step away from social challenge
and the emphasis on fun is entirely welcome, and well located. Immersion Theatre
has created a highly physical innovative take on a classic story which manages
to be both edgy and absurd, and of course, an utterly enjoyable ride into
fantasy. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;"><i>This production runs until 17 March 2013. </i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; line-height: 115%;">For more information: <a href="http://waterlooeast.co.uk/dorothy%20in%20ozi.html" target="_blank">http://waterlooeast.co.uk/dorothy%20in%20ozi.html</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">@WaterlooEast </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-79816059696341257652013-03-04T21:57:00.001+00:002013-03-04T21:57:47.430+00:00Losing the Plot - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/04358935015802869610">Naomi Lawson</a> (<a href="http://www.twitter.com/naomimlawson" target="_blank">@NaomiMLawson</a>)</span><br />
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<b><span style="font-family: Trebuchet MS, sans-serif;">Fairfield Halls, Croydon </span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">***</span></b><br />
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<div style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="line-height: 150%;">In 1993 John Godber was reportedly the third most performed
playwright after Alan Ayckbourn and William Shakespeare. But in 2013, where a
whole host of new British playwrights have made their mark in the twenty years
since then, does</span><i style="line-height: 150%;"> Losing the Plot </i><span style="line-height: 150%;">(the
fourth play written for the John Godber Company) still make a mark?</span></span></div>
<a name='more'></a> <span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-YST3Ds1IZuU/UTUYbanbfpI/AAAAAAAACUE/_8uHCl3hVwQ/s1600/Losing+The+Plot+-+Production+Photo+8.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-YST3Ds1IZuU/UTUYbanbfpI/AAAAAAAACUE/_8uHCl3hVwQ/s320/Losing+The+Plot+-+Production+Photo+8.jpg" width="228" /></a></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">This two-hander, also directed by Godber and already part way
through a nationwide tour, definitely has a feel of the now to it. Written
specifically for actors Steve Huison and Susan Cookson, the play sees the duo take
on the roles of husband and wife, Jack and Sally. Nearing fifty, with two
teenage daughters, the couple face the daily struggle of building work
nightmares, UCAS applications, open days, taxi duties for ageing parents and
generally not having enough hours in the day. This narrative is run in parallel
to a commentary on the state of Britain today, the Conservative government and
their cuts and in particular how this affects jobs and the arts. When the stresses
of them both become too much for art teacher (and wannabe artist) Jack, he
chooses to escape by walking out on his wife and children for three months ‘to
think’. The play then follows the couple’s attempts to rebuild their
relationship, amidst Sally’s efforts to publish a comedy novel based on her
husband and his escapades. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">Huison and Cookson both give admirable performances as they move
around the stage (a kitchen designed extremely realistically by Pip Leckenby)
with great frustration and exasperation at life. Cookson successfully captures
the emotional journey of Sally with wit, exposed fragility and determination as
she moves from her busy role of mother, wife and flower shop owner to seemingly
abandoned single mother and sole breadwinner to finally, a woman trying to make
her own mark as an individual. Meanwhile, Huison mixes comedy with weariness
and grievance at the system to portray a character who clashes, moans and jokes
his way through the dismal state of Britain today. Together the two interact
well, and in this piece of realism, there is a very realistic sense of love
beneath all the troubles and squabbles they face.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-MW5NAmomzz4/UTUYux2NpSI/AAAAAAAACUM/U11g4rXnrAA/s1600/Losing+The+Plot+-+Production+Photo+12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="http://3.bp.blogspot.com/-MW5NAmomzz4/UTUYux2NpSI/AAAAAAAACUM/U11g4rXnrAA/s320/Losing+The+Plot+-+Production+Photo+12.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">Despite good performances, the play does have its holes. The first
act in particular drags, with no real action driving it forward. The second act
picks up considerably and we are, for the most part, engaged in the couples’ reconciliation
process, although in itself that does feel a little stunted at times. There are
also moments where the play becomes slightly too expositional and this becomes
most clear in the social commentary aspect. References to schools becoming
‘academies’, ‘Woollies’ (Woolworths) going under and how having building work
done is "cheaper than moving in this climate" all paint a picture of a very
current Britain, but the lines sometimes seem shoehorned in. We see something
similar with the argument about the integrity of the arts vs. popular culture
as Jack proclaims "I found myself through the arts" and we are warned against
the EBACC with "only the nobility will be able to access [the arts]". They are
valid arguments, yet with Jack embodying the side of integrity of art and Sally
embodying its commodification following the potential of her ‘lowbrow’ book,
the two of them come to blows and it all feels a little too loud and on the
surface.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">They are issues that people feel strongly about, and issues that
are definitely relevant and attention-worthy. But whilst Godber succeeds in
showing the nuances within the couple’s relationship and daily struggles, there
is a distinct lack of subtext in the views portrayed. A loud opinion on the
arts may be no bad thing, but a slightly quieter inclusion would add that
something extra to an admittedly still enjoyable play. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<i><span style="font-family: Trebuchet MS, sans-serif;">This production is touring until 11 May 2013. </span></i></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.thestage.co.uk/listings/production.php/59362/losing-the-plot%20/%20www.johngodber.co.uk/johngodbercompany1.html" target="_blank">www.thestage.co.uk/listings/production.php/59362/losing-the-plot / www.johngodber.co.uk/johngodbercompany1.html </a></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">@FairfieldHalls </span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/17616812427893082415noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-5486129345108666132013-03-04T14:05:00.000+00:002013-03-04T14:10:50.040+00:00Trelawny of the Wells - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/08675901884726622140">Christianna Mason</a> (<a href="http://www.twitter.com/christianna_l_m" target="_blank">@Christianna_L_M</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Donmar Warehouse, London</span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">*****</span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></b>
<br />
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">“Well…it’s not exactly <i>A
Chorus Line</i>” one audience member shrewdly points out during the
interval. It certainly isn’t and it’s
all the better for it. Witty, stylish and clever; this play is about theatre
people, for theatre people.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-M2SVAP3t0go/UTSpr-ZfQJI/AAAAAAAACTs/xdE6tJnKwws/s1600/Aime+%C2%AE-Ffion+Edwards+(Avonia+Bunn)+and+Daniel+Mays+(Ferdinand+Gadd)+in+Trelawny+of+the+Wells,+Donmar.+Photo+by+Johan+Persson..jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-M2SVAP3t0go/UTSpr-ZfQJI/AAAAAAAACTs/xdE6tJnKwws/s320/Aime+%C2%AE-Ffion+Edwards+(Avonia+Bunn)+and+Daniel+Mays+(Ferdinand+Gadd)+in+Trelawny+of+the+Wells,+Donmar.+Photo+by+Johan+Persson..jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Johan Persson</span></i></td></tr>
</tbody></table>
<span style="font-family: Trebuchet MS, sans-serif;">Rose Trelawny (Amy Morgan) is a young, pretty actress that
features as the leading lady in every production at the Barridge Wells Theatre.
In an age where actors were vagabonds and gypsies, although adored - in her
humble opinion - by the audience, her reputation is far from respectable. However,
besotted aristocrat and fiancé Arthur Gower (Joshua Silver) whisks her away to
his upper class grandparents’ house. But can she stand this new stifled life
and what will become of the theatre?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">An amusing send up of the old pomp and circumstance of
melodrama Joe Wright, the director, uses his theatrical debut to give a
tongue-in-cheek nod to his previous work (the film <i>Anna Karenina</i>) also set in an old theatre in the late 1800’s. He
has braved the world of theatre and aren’t we lucky he has. Each moment could
be a perfect stage picture from several different angles.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Wright and Movement Director, Marcello Magni, have created lively
staging that seamlessly flows from one scene to the next, highlighting the
characters quirks and their amusing relationships. It sets the pacing nicely
and carries the energy throughout. Stunning dresses swish round the stage,
never staying still, adding to the perpetual motion of the play. Unfortunately
the energy falls a tiny bit flat towards the end of the second act but that
seems to be the fault of the storyline rather than the writing or acting.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The stellar cast of caricatures deliver delicious interpretations
of all too familiar personalities within theatre. There’s not a weak link among
them. Most of the actors play several roles and the majority contrast wildly.
Ron Cook is especially a delight to watch as he flounces offstage as a dame and
re-enters as the stern, old grandfather. Susannah Fielding also stands out with
her brilliant comic timing, facial expressions, and diversity of characters. There
are some particularly beautiful passive aggressive moments of rivalry between the
aspiring actresses. Also, Maggie Steed has select but golden lines that are not
to be missed.<o:p></o:p></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-_8LrvJY7-FM/UTSpxhNm8jI/AAAAAAAACT0/L84JMoEUx-E/s1600/Daniel+Kaluuya+(Tom+Wrench)+2+in+Trelawny+of+the+Wells,+Donmar.+Photo+by+Johan+Persson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-_8LrvJY7-FM/UTSpxhNm8jI/AAAAAAAACT0/L84JMoEUx-E/s320/Daniel+Kaluuya+(Tom+Wrench)+2+in+Trelawny+of+the+Wells,+Donmar.+Photo+by+Johan+Persson.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Photo: Johan Persson</span></i></td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The design captures all the style and charm of a 19<sup>th</sup>
century music hall, but has the slick changes and multi-purpose props of a
contemporary production. This is a smart move that clearly pays off with the
audience. Musical interludes run smoothly throughout the play showcasing the characters
woes and vanities.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">A feast for the eyes as well as the ears, this production
will have you chuckling all evening. It’s a gem of a cast and created with a
real attention to detail. </span></div>
<blockquote class="tr_bq">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">The
Donmar Warehouse would like to thank The Stuart and Hilary Williams Charitable
Foundation, and Barclays for their ongoing support.</span></span></blockquote>
<div class="MsoNormal">
<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 13 April 2013. </span></i></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://donmarwarehouse.com/whats-on/donmar-warehouse/2013/trelawny-of-the-wells" target="_blank">http://donmarwarehouse.com/whats-on/donmar-warehouse/2013/trelawny-of-the-wells</a></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">@DonmarWarehouse </span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-57558795057501856502013-03-02T17:00:00.000+00:002013-03-02T17:00:01.665+00:00Hot Property - review<a href="http://3.bp.blogspot.com/-tVH1JoK6smc/UDrU4wr0Z4I/AAAAAAAAAh8/uSwhAOMQd2o/s1600/clean+headshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-tVH1JoK6smc/UDrU4wr0Z4I/AAAAAAAAAh8/uSwhAOMQd2o/s1600/clean+headshot.jpg" /></a><span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/06793264203205775110">Dombo</a> (<a href="http://www.twitter.com/domojfryer" target="_blank">@DomOJFryer</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Where's Dom gone?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">Etcetera Theatre, London</span><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">Was Dom fond?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">***</span><br />
<br />
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<br />
<div class="FreeForm" style="line-height: 17.0pt;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #1f1f1f;">It's difficult to gauge exactly what about this piece is
so interesting. Is it the narrative? Is it the acting? Is it the fact that the
set cost maybe £4 maximum? That’s not a bad thing; Dragon's Den would have a
field day.</span></span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><span style="color: #1f1f1f; line-height: 17pt;"> </span></span><br />
<div class="FreeForm" style="line-height: 17.0pt;">
<span style="font-family: Trebuchet MS, sans-serif;"><i><span lang="EN-US" style="color: #1f1f1f;">Hot Property</span></i><span lang="EN-US" style="color: #1f1f1f;"> is a satirical comedy,
which takes place solely in one flat, occupied by Rob (Pip Gladwin) and Beth
(Joanna McCarthy). Upon her return from a friend's wedding, aspiring actress
Beth finds that Rob has found a girl on the street and brought her home. This
is not just any girl - it's reality TV star Natalie Darkins (Georgina Morrell).
It's only a matter of time before Beth's highly celebrated and successful
television producer of a friend Claudia (Tracey Pickup) and her assistant
Annette (Leanna Wiggington) find out; before you know it Claudia has pitched a
reality TV show about Natalie (who has now been declared missing). As the play
progresses, we find out more about Natalie and her past, including her damaging
tendencies.<o:p></o:p></span></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<br /></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span lang="EN-US" style="color: #1f1f1f;"><span style="font-family: Trebuchet MS, sans-serif;">The writing is incredibly strong, and whilst not being
clean cut (it needs a bit of tightening around the edges), there are some
highly intelligent and funny lines; clearly Matthew Randle has done a lot of
work here. The ensemble works well together, however the standout performers
are McCarthy and Pickup, who is at times enthralling to watch. These two were
excellent, but this is no discredit to the other members of the cast - they all
showed moments of greatness in a dark, non-adjustable space.<o:p></o:p></span></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<br /></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span lang="EN-US" style="color: #1f1f1f;"><span style="font-family: Trebuchet MS, sans-serif;">More could have been done with both the lighting and
sound; there is one brief scene where both are used in a trance-inducing mash
up of colour and noise, but aside from that the creativity in this aspect is
unfortunately sparse. <o:p></o:p></span></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<br /></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #1f1f1f;">Overall, the play leaves room for improvement, but has
great potential. You feel as if it needs to be given a bigger space in order to
fully fly, but this bird, with it's strong cast, is only beginning to stretch
its wings in this small space. <i>Hot
Property</i> is a satirical view on our modern celebrity and social media
culture - with any luck it will soon be trending.</span><span style="color: windowtext;"><o:p></o:p></span></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span lang="EN-US" style="color: #1f1f1f;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span lang="EN-US" style="color: #1f1f1f;"><i><span style="font-family: Trebuchet MS, sans-serif;">This production has now closed. </span></i></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span lang="EN-US" style="color: #1f1f1f;"><span style="font-family: Trebuchet MS, sans-serif;">For more information on the venue: <a href="http://www.etceteratheatre.com/" target="_blank">http://www.etceteratheatre.com</a></span></span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span style="font-family: Trebuchet MS, sans-serif;">@EtceteraTheatre </span></div>
<div class="FreeForm" style="line-height: 17.0pt;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="FreeForm" style="line-height: 17pt; text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-59361474933579695342013-03-02T15:03:00.000+00:002013-03-02T15:03:43.184+00:00Kiss Me, Kate - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/08773555966649485680">Wendy Haines</a> (<a href="http://www.twitter.com/wendyfer1" target="_blank">@Wendyfer1</a>)</span><div>
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div>
<b><span style="font-family: Trebuchet MS, sans-serif;">Old Vic Theatre, London</span></b></div>
<div>
<b><span style="font-family: Trebuchet MS, sans-serif;">****</span></b></div>
<div>
<b><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Kate doesn’t want to be
kissed, but things just aren’t that simple. Trevor Nunn has achieved a winning,
albeit comfortable staging of Cole Porter’s meta-musical <i>Kiss Me Kate: </i>a hectic, jazzy escapade following the leads in a <i>Taming of The Shrew</i> musical both on and
off stage.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-ftYix5F-dLk/UTIUsXWmSNI/AAAAAAAACTc/N4UGRfNy29E/s1600/Kiss-Me-Kate-at-the-Old-V-010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-ftYix5F-dLk/UTIUsXWmSNI/AAAAAAAACTc/N4UGRfNy29E/s400/Kiss-Me-Kate-at-the-Old-V-010.jpg" width="400" /></a></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Nunn has an extensive back
catalogue of directing both musicals and Shakespeare, at one point directing
the RSC itself. His versions of <i>Cats </i>and
<i>Les Miserables </i>delighted critics; this
production at the Old Vic is an exemplary showstopper, but stops short of
breaking the mould. All the West End clichés are there: over-eccentric
characters, non-figurative lyrics, fluorescent smiles, hammy solos and total
milking of the bows. The traditional musical structure remains with an ensemble
ditty to open each act and reprises to end them, dramatic pauses in abundance
and tableaus to conclude each number.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">That being said, <i>Kiss Me Kate </i>establishes ideal
situations for raucous comedy that redeem it. Written and set in the late 40s,
divorcees Fred Graham (Alex Bourne) and Lilli Vanessi (Hannah Waddingham) are performing as
Katherina and Petruchio, but a misunderstanding before opening night leaves
Lilli fuming and threatens the entire show’s future. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The difficult task of this
piece is juggling backstage action with performances from the <i>Shrew </i>musical. The characters are
perfectly paralleled, with Vanessi channelling Katherina even when she isn’t playing
her. The costume, music (skilfully orchestrated for a jazz band by Chris Egan) and
Stephen Mear’s choreography help make the two worlds consistent with each other
- it does not feel as if you’re watching two different plays and any scene
changes are covered well by the dancers. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The meta-musical is the most
entertaining part of this performance. Priceless puns emerge from Shakespeare’s
lines accidentally reflecting the backstage plot, and the hidden conflict
between Fred and Lilli is simply brilliant. The cast do a fantastic job with
their character’s acting, with hilarious results from talentless Lois Lane as Shakespeare’s
Bianca (Holy Dale Spencer). Spencer’s token over-eccentric character is
irritating in dialogue scenes, but her singing is a pleasure in <i>Why Can’t You Behave</i> - even if stylised.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><i>I Hate Men</i>
is Vanessi’s terrifying and hilarious solo, which summarises Katherina’s
indiscriminate misandry, performed with raw enthusiasm by Hannah Waddingham. She
pulls off melodrama like a rocket, flaring so viciously that the stage quivers.
Dramatic irony is indulged, as the audience know that Lilli will echo Kate’s
views only too soon. A discovery is made and Lilli begins wreaking havoc on the
performance, hacking at the script and ignoring the blocking. Spotlights are
used to show where she’s supposed to be standing – a smart and funny little
trick. Despite the need for persistent rage, Waddingham is still able to
showcase her vocal delicacy in <i>So in Love</i>.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Another highlight in the
score is the second act opening, <i>Too Damn
Hot</i>. Rife with sensuality, the almost burlesque composition displays
astonishing talent in the chorus of dancers, notably Jason Pennycooke who
carries the primary vocals while doing the splits. Otherwise, the score wasn’t
memorable; nice enough in the moment, but only two out of twenty songs stuck.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The choreography was
excellent at times, but giving tap shoes to an entire ensemble was a mistake.
It’s a brave risk, but unless the dancers are faultless it’s always going to
sound messy. My only other criticism is that Lilli’s sudden change of heart at
the end felt forced. If you’re after an evening of jolly jazz-hands, <i>Kiss Me Kate </i>is a good choice. Though
lacking subtlety, the cringe-factor is fairly low. It’s a safe place to start
on the musical theatre avenue, unless of course you warrant Kate’s rage. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 2 March 2013. </span></i></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.oldvictheatre.com/kiss-me-kate/">http://www.oldvictheatre.com/kiss-me-kate/</a></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">@OldVicTheatre </span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-13846005923357193962013-03-02T14:07:00.000+00:002013-03-02T14:07:34.187+00:00A Chorus Line - review<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-Jwzth0vjo9Y/UDrSwN3MvkI/AAAAAAAAAhk/GsBo7j_nIKg/s1600/552518_3605175490969_879069265_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Jwzth0vjo9Y/UDrSwN3MvkI/AAAAAAAAAhk/GsBo7j_nIKg/s1600/552518_3605175490969_879069265_n.jpg" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/17616812427893082415">Peeny</a> (<a href="http://www.twitter.com/adampeeny" target="_blank">@AdamPeeny</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Where's Peen been?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">Palladium, London</span><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">Was Peen keen?</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">****</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
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<span style="font-family: Trebuchet MS, sans-serif;"><i><span lang="EN-US"><br /></span></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i><span lang="EN-US">A
Chorus Line </span></i><span lang="EN-US">is 120 minutes of musical theatre
celebrating itself, purely demonstrating the glitz of performing on a big
stage, but the hard graft that comes in equal measure. This is a major revival of
a groundbreaking American musical suitably timed to pay a great tribute to the
multi award-winning composer, Marvin Hamilisch, who unexpectedly passed in
August 2012.</span></span></div>
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<a href="http://2.bp.blogspot.com/-k5wX70NSLsE/UTIHfUlNoWI/AAAAAAAACTM/h5s999fpp2I/s1600/chorusline2_2486810b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="http://2.bp.blogspot.com/-k5wX70NSLsE/UTIHfUlNoWI/AAAAAAAACTM/h5s999fpp2I/s400/chorusline2_2486810b.jpg" width="400" /></a></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Led by the superb well-known Eastender,
John Partridge, seventeen dancers are each fighting for one of the eight places
available in the chorus. This bunch of twinkletoe’s is superb across the board,
and it’s a delight to spend two hours getting to know them, and why gaining a
place on the stage is so important. What begins as just another audition
becomes an audition tied up with emotion and significance.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"> The
essential commitment to every pointed toe and every note flies from the stage
in abundance; we leave the Palladium in absolute awe. Sheila (the stunning
Leigh Zimmerman) is on the path to becoming the woman her mother never was; Ed
Currie effortlessly lives up to the demands of hilarious Bobby; heartbreak
comes in the form of Paul, whose story won’t be overly dissimilar to many
watching, which is meticulously told and beautifully handled by Gary Wood; and
then there’s Cassie. She’s the pinnacle of this production, and the desperation
to see her solo dance is felt unanimously throughout the auditorium, for which
Scarlett Strallen receives a rapturous applause. It’s one of the most majestic
things to be found on a West End stage and will move you the length of the
Thames. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">The repetition of monologues and solo
performances is gripping if a little heavy and lacking an interval. It’s
certainly not a problem or hindrance, barely even that notable, but the number
of people leaving during the performance (certainly on the night I went) is all
of the above. The simplicity is spellbinding, and the use of mirrors as an
alternate backdrop (designed by Robin Wagner) is intelligently employed. This
musical was last found in London in 1976 on Drury Lane, and this is a testament
to the timeless classic that is welcomed back in town with open arms. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
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<span lang="EN-US"><i><span style="font-family: Trebuchet MS, sans-serif;">This production is booking until January 2014. </span></i></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.achoruslinelondon.com/" target="_blank">http://www.achoruslinelondon.com</a></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">@AChorusLineLDN </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-67058170697523767922013-03-01T15:38:00.002+00:002013-03-01T15:38:26.285+00:00Kinky - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/17483197190568652045">Elodie Vidal</a> (<a href="http://www.twitter.com/elodievidal" target="_blank">@ElodieVidal</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Ovalhouse, London</span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">*****</span></b><br />
<br />
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<span style="font-family: Trebuchet MS, sans-serif;">A show about kink. You probably
have a mental picture of what such a production might be like, but the good
thing is, Clare Shucksmith, creator of <i>Kinky</i>,
knows you do. She also has a pretty good idea of which images your imagination
is likely to conjure up. Flanked by creative and performing partner Zoe Hinks,
she constructs a delightful piece that, in its raunchy affair with performance
art, confronts all the expectations and stereotypes standing in her way.</span></div>
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<a href="http://2.bp.blogspot.com/--5uroApPvpQ/UTDLDVeDtiI/AAAAAAAACS8/o44M5kGPHlU/s1600/2_ands_3_Holes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="240" src="http://2.bp.blogspot.com/--5uroApPvpQ/UTDLDVeDtiI/AAAAAAAACS8/o44M5kGPHlU/s320/2_ands_3_Holes.jpg" width="320" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Two words to describe <i>Kinky</i>: deliberate chaos. The rejection
of conventions necessary to understand kink and alternative sexualities
translates in a refusal to adhere to theatrical traditions. In lieu of a
narrative or argument, the audience gets a succession of kink-related topics, from
statistics to unfair criminal convictions, presented in a seemingly random
order, with nothing but Powerpoint slides as transitions. In turn, Shucksmith
treats each subject with a pell-mell of videos, punk music, and painted slogans.
But it works: amidst the rowdy jumble of images, sounds, costumes and props,
the institutionalisation of sex finds itself crushed. From the rubble, irrepressible
humour rises, relieving sex of its seriousness and stigma.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Enters a giant penis, Tony the
Tiger in a compromising situation, and a ripped and shredded copy of <i>Fifty Shades of Grey</i>, but much of the
show’s convivial atmosphere comes from the knocking down of the fourth wall.
For this production, Shucksmith’s company 2headedpigeon makes direct address
the norm, and the creative process almost transparent. This point is especially
obvious in the acting style, so casual as to resemble normal conversation. For
all intents and purposes, Shucksmith does not act, the little smile lodged at
the corner of her mouth indicating that she is only pretending. Hinks’s
approach is more traditional, but still so informal that it is impossible to
tell where lines end and ad libs begin. Add a technical director, Carl
Boardman, who leaps from his station to make cameos on stage, and everyone is
having a grand old time.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Not that <i>Kinky</i> is all fun and games; its serious moments are all the more
striking for being so scarce. Of particular note is the scene revealing
Shucksmith’s reason for making the play, delivered to the sound of loud music,
but without any dialogue. Temporarily dropping her many props and her piece’s
comedic tone, she writes on a white board, turning to the audience at the end
of each sentence, a stern expression on her face. Her words, albeit simple,
weigh a ton, and engrave themselves onto the spectator’s memory. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In the end, the girls’ conclusion
- a plea to a significant other to take sex as it comes, without judgement,
fear or expectation - confirms that <i>Kinky</i>
is not about any specific sexual practice; it is about freeing sex of its
neuroses. In its humour and disorder, the show thus provides both entertainment
and catharsis – the marks of a successful piece of art.<o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 2 March 2013.</span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">For more information: <span style="color: windowtext;"><a href="http://www.ovalhouse.com/whatson/detail/kinky" target="_blank">http://www.ovalhouse.com/whatson/detail/kinky</a></span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="FR">@Ovalhouse </span><span lang="FR" style="color: windowtext; mso-ansi-language: FR; mso-bidi-font-family: "Helvetica Neue"; mso-bidi-font-size: 18.0pt; text-decoration: none; text-underline: none;">@2headedpigeon</span><o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-76274061140405667012013-03-01T09:00:00.000+00:002013-03-01T09:00:07.621+00:00COMPETITION: Win a signed poster for Mydidae!
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<span style="font-family: Trebuchet MS, sans-serif;">With the announcement that Jack Thorne’s <i>Mydidae</i> is to
transfer to the Trafalgar Studios after it’s hit run at the Soho Theatre we’re
delighted to announce that we’re offering one lucky reader a chance to win an
exclusive signed poster.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Jack Thorne’s <i>Mydidae</i>, which played to critical acclaim at
the Soho theatre in 2012, will transfer to the Trafalgar Studio 2 opening in just a few short days. Playing from 5 to 30 March, <i>Mydidae</i> is billed as “a bitter-sweet study of
humanity” and is an authentic and intimate exploration of a relationship
between two people staged in a fully plumbed bathroom. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The first full-length
play by theatre company DryWrite, <i>Mydidae</i> is directed by the company’s
co-Artistic Director, while co-founder and actress Phoebe Waller-Bridge and
Keir Charles will reprise their roles in the production when it transfers.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Trebuchet MS, sans-serif;">TO ENTER: </span></b></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></b></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">To be in with a chance of winning simply email your name and
contact details to <a href="mailto:adampenny1991@googlemail.com">adampenny1991@googlemail.com</a>
and we will be picking a winner out of a hat on 8th March. <o:p></o:p></span></div>
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<span style="color: red; font-family: Trebuchet MS, sans-serif;"><b>Good Luck!</b></span></div>
<!--EndFragment-->Anonymousnoreply@blogger.com2tag:blogger.com,1999:blog-3439084334788268924.post-16833228749854444052013-02-28T09:00:00.000+00:002013-02-28T09:00:06.903+00:00Your Place Or Mine - review<!--[if gte mso 9]><xml>
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<span style="font-family: Trebuchet MS, sans-serif;">Written by <a href="http://www.blogger.com/profile/03619799571909775148">Daisy Thurston-Gent </a>(<a href="https://twitter.com/daisytgpoetry" target="_blank">@daisytgpoetry</a>)</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Ovalhouse Theatre, London</span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif;">**</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i>Your Place Or Mine </i>is the latest project undertaken
by Tim Redfern and David Sheppeard that takes place in the Café Gallery of the
Ovalhouse Theatre. The short piece explores the difficulties that two
colleagues face when attempting to downsize an archive, discussing what makes a
history worth saving. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"></span><br />
<a name='more'></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The text is interesting enough, although the overall
performances given by Redfern and Sheppeard lacks depth, meaning that the execution
of some lines feels underdeveloped and flat in the central scenes. Conversations
between the pair regarding the Turning archive are arguably the most important
plot-wise but are certainly not the most engaging; the various characters being
played by the two men need more substance for the audience to differentiate
between them in the quick changing scenes. Of most interest are the sections of
telephone transcription where Redfern and Sheppeard both perform convincingly,
establishing the distance needed to make this particular conversation
believable. In these sections their individual characters seem much more
detailed and both members of the pair are equally strong, confident in their
vocal delivery. The actors’ focus throughout these sections is what carries the
piece and when re-evaluating their progress Redfern and Sheppeard should be
attentive to these strengths and extend this level of consideration to the rest
of the script. </span></div>
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<a href="http://1.bp.blogspot.com/-rm9zY52Gpoo/US6NkK-BX_I/AAAAAAAACSE/8kvGxkhPm9o/s1600/Your_place_or_mine_web_fullsize_collage_460_345_95_s.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-rm9zY52Gpoo/US6NkK-BX_I/AAAAAAAACSE/8kvGxkhPm9o/s320/Your_place_or_mine_web_fullsize_collage_460_345_95_s.jpg" width="320" /></a><span style="font-family: Trebuchet MS, sans-serif;">As the piece flits between
conversations so rapidly, albeit keeping the play tight, there is still space
for development and sometimes scenes feel undernourished, leaving the
prospective audience eager for more insight. The pair explore some
sophisticated ideas but the piece is let down by a general lack of direction
which is something that will need more attention if the piece is to be extended
and developed further. Furthermore, the stage of progress for the piece as a
presented whole was unclear; while there appears to have been thought given to
lighting and set design, the performances themselves felt inadequate. The stage
is cluttered with props that invite the audience into the archive made in the
humble space of the Ovalhouse Café Gallery and there is sufficient
consideration given to the lighting design in order to transport the audience
between scenes, however, given that the performers still have scripts in hand, props
become problematic at times, and contribute to some clunky acting. Once again
the attention to detail is half-hearted - the boxes are noticeably empty and so
the sense of urgency with the possibility of this archive being totally erased is
lost. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i>Your Place Or Mine </i>sets out to explore some strong
issues but doesn’t quite lead anywhere, which is disappointing. The extract
presented feels very much like an opening section to a longer piece, but this
is not made clear. Thirty minutes is certainly long enough for a script to
accomplish a sense of direction, yet <i>Your Place Or Mine </i>would benefit
from being extended in order to play out certain scenes of interest. The piece
is still very much in the rehearsal process but there are plenty of interesting
ideas to flesh out from this presentation of new material as its artistic
process continues. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 2 March 2013.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For more information visit: <a href="http://www.ovalhouse.com/whatson/detail/your-place-or-mine">http://www.ovalhouse.com/whatson/detail/your-place-or-mine</a> </span><br />
<span style="font-family: Trebuchet MS, sans-serif;">@Ovalhouse <i><o:p></o:p></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="https://twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-30376669964389756402013-02-27T12:00:00.000+00:002013-02-27T23:45:47.723+00:00Girls! Girls! Girls! - review<!--[if gte mso 9]><xml>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Written
by: <a href="http://www.blogger.com/profile/10218143778290082341">Jess Nesling</a> (<a href="https://twitter.com/jessnes1" target="_blank"><span style="color: #0000f5;">@JessNes1</span></a>)</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">The
Pheasantry, London</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">**</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif; mso-bidi-font-family: "Trebuchet MS";">Babette’s
Feast, the quartet composed of vocalists Emma Ruth, Verona Chard, Tamsyn Salter
and Sophie Burnham, took to the small stage of The Pheasantry for a performance advertised as a “delicious musical double bill”. The
repertoire took the audience on a tour through the ages, from Glenn Miller to
Paloma Faith; but something was lacking.</span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: left;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-B2hp32Z0weM/US1aoVn_w_I/AAAAAAAACRM/M1myN0rJG34/s1600/BabettesFeast+copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="320" src="http://2.bp.blogspot.com/-B2hp32Z0weM/US1aoVn_w_I/AAAAAAAACRM/M1myN0rJG34/s320/BabettesFeast+copy.jpg" width="256" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Opening
the show in a glittery blue and silver outfit, Emma ‘Divine Miss Em’ Ruth gave
a powerful rendition of <i>Upside Down. </i>A microphone malfunction came to tarnish
her opening, but, as an experienced entertainer, she handled it well. She
certainly knows how to use every inch of a performance space, but it remains
that when she climbed up the stairs to sing from the balcony, most of the
audience could only see her sky-blue, skyscraper heels.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">As
Miss Em began to interact with the audience, it became clear that this was not
her usual crowd. Her risqué jokes and banter were met with embarrassed gasps.
She tried again later, asking for everyone’s favourite word for “knockers”.
There was a sense of reluctance, but after some coaxing, the most brazen
spectators offered up their preferred words – some, such as “fun bags”, causing
a stir among the audience. Pianist Chris Neill joined Em on stage for her second
number. He crept shyly to the piano, hiding under a mop of curly hair, but w</span></span><span style="background-color: white; color: #222222; text-align: -webkit-auto;"><span style="font-family: Trebuchet MS, sans-serif;">hen he started playing, however, his Midas touch brought the piano to life.</span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">After
a few more songs, the remaining Babettes made their entrance to perform <i>Something’s
Gotta Hold of Me </i>as a taster of the second act. The performance’s weak
singing and harmonies<i> </i>did not give high hopes for what was to come, but
the audience did seem slightly more relaxed. Genuine laughter broke out for the
first time all evening when Em sang <i>Women Be Wise</i> with a man plucked
from the audience kneeling down to act as her microphone stand. By the closing
performance of the first act, <i>In These Shoes?</i>, Miss Em had fully settled
into her new environment, and left the stage to applause.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">The
second act began with a jazzed up version of Nirvana’s <i>Smells Like Teen
Spirit</i>. Unfortunately, the tables being crammed together, the girls missed
their cue finding a way to the stage. </span></span><span style="background-color: white; color: #222222; line-height: 14px; text-align: -webkit-auto;"><span style="font-family: Trebuchet MS, sans-serif;">Luckily the performers only had to deal with this once, but it was very difficult for the catering staff</span></span><span style="font-family: 'Trebuchet MS', sans-serif;">. Chris then returned to the stage, bringing along talented drummer
Dominic – who, oddly, does not feature in the show’s programme.</span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">The
Babette’s Feast girls share a lovely rapport, but differing levels of talent
and showmanship set them apart. Their songs felt under-rehearsed and the
simplistic accompanying choreography was rarely performed with united
energy. Nevertheless, these are clearly four very talented singers. Tamsyn
was wonderfully expressive and note-perfect during her rendition of <i>The
Snake</i> and Sophie’s sexy, deep voice stood out during her performance of <i>Keep
Young and Beautiful</i>. </span><span style="background-color: white; color: #222222; text-align: -webkit-auto;">Verona’s soft, husky voice suited her solo, </span><i style="background-color: white; color: #222222; text-align: -webkit-auto;">Fever</i><span style="background-color: white; color: #222222; text-align: -webkit-auto;">, but overall she was too weak and Em overpowered across the board.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">In
their penultimate song, <i>I Kissed a Girl</i>, the quartet was not raunchy
enough to achieve the sultry and flirtatious stage presence required by the
cabaret genre, but, thankfully, their encore of <i>Lady is a Tramp</i> was a
huge improvement, united and confident.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Cabaret
is often deemed the Marmite of the theatrical world: it is a specific type of
entertainment requiring a specific type of audience. It appears that <i>that</i>
audience was not present at The Pheasantry, Chelsea on Sunday night.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><i><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">This production is now closed.</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">For more information: <a href="http://www.excessallareas.co.uk/cabaret-listings/listings-all.php" target="_blank"><span style="color: #0000f5;">http://www.excessallareas.co.uk/cabaret-listings/listings-all.php</span></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">@cabaretexcess
@pizzapheasantry @TheDivineMissEm</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif; mso-bidi-font-family: "Trebuchet MS";">Follow us on <a href="https://twitter.com/whatspeenseen" target="_blank"><span style="color: #0000f5;">Twitter</span></a>
/ Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank"><span style="color: #0000f5;">Facebook</span></a></span><span lang="EN-US"><o:p></o:p></span></div>
<!--EndFragment--></div>
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</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-80936895399819104902013-02-27T09:00:00.000+00:002013-02-27T09:00:00.746+00:00Bottleneck - review<br />
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<span style="font-family: 'Trebuchet MS';">Written By: </span><a href="http://www.blogger.com/profile/01969006120734578770" style="font-family: 'Trebuchet MS';"><span style="color: #0000f5;">Lily Grouse</span></a><span style="font-family: 'Trebuchet MS';"> (</span><a href="https://twtter.com/lilykg" style="font-family: 'Trebuchet MS';" target="_blank"><span style="color: #0000f5;">@LilyKG</span></a><span style="font-family: 'Trebuchet MS';">)</span></div>
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<b><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Soho Theatre, London</span></b><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #141414; font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">*****</span></b><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">This is one of those occasions in which I
was genuinely blown away. <i>Bottleneck</i> is a powerful script, and its
realisation on stage is just as strong. Playwright Luke Barnes captures the
1989 Hillsborough disaster with a sensitive and personal approach, his piece
bursting in equal measure with moments of trauma and comedy. I urge you not to
pass up the opportunity to see it.<span style="color: #141414;"> </span></span></div>
<a name='more'></a><br />
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Just to bring you up to scratch: the
Hillsborough disaster was a human crush that occurred during the FA Cup final
between Liverpool and Nottingham Forest in Sheffield. It resulted in 96
fatalities and nearly 800 injuries, making it one of the worst and most
controversial football disasters to date, and one that is ingrained in the
identity of Liverpool Football Club.</span><span lang="EN-US"><o:p></o:p></span></div>
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<a href="http://4.bp.blogspot.com/-rIEyyWY-LYU/US1Lu3I3KpI/AAAAAAAACQU/lDhjyxMO43o/s1600/320x320.fitandcrop.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-rIEyyWY-LYU/US1Lu3I3KpI/AAAAAAAACQU/lDhjyxMO43o/s1600/320x320.fitandcrop.jpg" /></a><i><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Bottleneck</span></i><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">
explores the build up to the disaster through the eyes of 14-year-old Greg,
beautifully performed by James Cooney in an impressive one-man-show. For the
first half an hour, his amusing portrayal of teenage angst and vivacity makes
you forget about the disaster alluded to in the play's title - I was completely
taken in by his playful impressions of friends and family, and anecdotes about
school life. Becoming absorbed in Greg's life before the match means that the
tragedy of the crush creeps up on you. As the events unfurled, goose bumps
prickled my skin - and that's saying something when the studio was hotter than
the sun. Do make sure you accept the usher's offer of a glass of water before
being seated, or you might shrivel like an autumn leaf under the heat of the
stage lights.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Barnes, Cooney, and director Steven
Atkinson deserve congratulations for their collaborative manipulation of the
audience's emotions. I was taken from tears of laughter to tears of terror as
Greg went from jokingly impersonating his father to describing the experience
of being trapped in the crowd. I felt claustrophobic, although Cooney stood
alone on stage- his performance transported me so that I felt as though I was
in the throng with him. Having studied drama for most of my academic life, I
was surprised to find that I could not scrutinise the performance, but only
lose myself in it. I was completely captivated.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">As a Liverpool supporter who has visited
the Hillsborough memorial outside Anfield (the home of Liverpool FC) many times,
I found myself particularly affected by the piece. However, on glancing at the
faces of fellow audience members, it was clear to see that this personal
connection was not the only reason for my strong reaction. It had nothing to do
with loyalty to a team; it was a feeling of empathy evoked by Cooney's
masterful performance.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Ultimately,
<i>Bottleneck</i> deals with the universal experiences of friendship and loss,
and the trials and tribulations of growing up, in a beautiful collision of
writing and performance. It's a proud moment for new writing in this country
and I look forward to seeing more of Barnes' work in the future!</span></div>
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<i><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">This production runs until 9 March
2013.</span></i><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">For more information: <a href="http://www.hightide.org.uk/event/bottleneck_-_soho_theatre" target="_blank"><span style="color: #0000f5;">http://www.hightide.org.uk/event/bottleneck_-_soho_theatre</span></a></span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">@sohotheatre @_HighTide_</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";">Follow us on <a href="https://twitter.com/whatspeenseen" target="_blank"><span style="color: #0000f5;">Twitter</span></a>
/ Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank"><span style="color: #0000f5;">Facebook</span></a></span><span lang="EN-US"><o:p></o:p></span></div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-54353151475755508382013-02-26T14:43:00.003+00:002013-02-26T14:43:51.659+00:00Bitch Boxer - review <span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="http://www.blogger.com/profile/13003945720891312330">Anna Jones</a> (<a href="http://www.twitter.com/now4567anna" target="_blank">@Now4567Anna</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Soho Theatre, London</span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">****</span></b><br />
<br />
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<span style="color: #2a2a2a; line-height: 12.75pt;"><span style="font-family: Trebuchet MS, sans-serif;">Charlotte
Josephine has crafted, and is now delivering, a genuinely excellent piece of
theatre, which incorporates all the rhythms and pace of a boxing match into an hour
and a half monologue. Her words jab and fall back, daze you, knock you down
only to lift you back up again with a funny observation. It is the
touching story of Chloe, an amateur boxer looking for Olympic glory whilst
coming to terms with a family tragedy.</span></span></div>
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<span style="color: #2a2a2a; line-height: 16.99652862548828px;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<span style="color: #2a2a2a; line-height: 12.75pt;"><div style="text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://3.bp.blogspot.com/-9GQu7HpcFrc/USzJnS0CY4I/AAAAAAAACPc/Lb69_XdMCl0/s1600/320x320.fitandcrop.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-9GQu7HpcFrc/USzJnS0CY4I/AAAAAAAACPc/Lb69_XdMCl0/s1600/320x320.fitandcrop.jpg" /></a><span style="line-height: 12.75pt;">It is an extremely refreshing piece with feminist leanings; Josephine explores
the way in which the female body can be used both in sport and on stage to
subvert and defy expectations. She points out in the preface that the play
was inspired by an unkind comment from a customer of hers, who implied that she
did not look “ladylike” whilst carrying some heavy boxes. This comment led her
to examine why women are still sometimes pigeon-holed into physical
stereotypes, and she expertly channelled her frustration into </span><i style="line-height: 12.75pt;">Bitch Boxer, </i><span style="line-height: 12.75pt;">a</span><i style="line-height: 12.75pt;"> </i><span style="line-height: 12.75pt;">piece</span><i style="line-height: 12.75pt;"> </i><span style="line-height: 12.75pt;">which also picks
up on the controversy surrounding women boxers being allowed to compete in the
Olympics for the first time.</span></span></div>
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<span style="color: #2a2a2a; line-height: 12.75pt;"><span style="font-family: Trebuchet MS, sans-serif;"><div style="text-align: left;">
<span style="line-height: 12.75pt;">Bryony Shanahan’s direction ensures that the monologue remains engaging
throughout; the incorporation of dance, boxing and simple props (a chair and
gym bag) support the narrative. The sound design and original music, provided
by Daniel Foxsmith, and the lighting, provided by Seth Rook Williams,
complement the piece perfectly, resulting in a scintillating production.</span></div>
</span></span><br />
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<span style="color: #2a2a2a;"><span style="font-family: Trebuchet MS, sans-serif;">If
this excellent piece of theatre is anything to go by, Charlotte Josephine’s
company, Snuff Box Theatre, is a company to watch over in the next few years.<o:p></o:p></span></span></div>
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<i><span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 9th March 2013. <o:p></o:p></span></span></i></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="line-height: 115%;">For more information: </span><a href="http://www.sohotheatre.com/whats-on/bitch-boxer/"><span style="line-height: 115%;">http://www.sohotheatre.com/whats-on/bitch-boxer/</span></a><span style="line-height: 115%;"><o:p></o:p></span></span></div>
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<span lang="FR"><span style="font-family: Trebuchet MS, sans-serif;">@sohotheatre @SnuffBoxTheatre</span></span><span lang="FR" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span lang="FR"><span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></span></div>
Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-3439084334788268924.post-59619839736105521362013-02-26T12:00:00.000+00:002013-02-26T12:00:03.886+00:00The Deep Space - review<!--[if gte mso 9]><xml>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: 12pt;">Written by: <a href="https://plus.google.com/104000012499683413678/posts">Andrew Crane</a> (@</span><a href="https://twitter.com/andrewrcrane" style="color: blue; font-size: 12pt;" title="https://twitter.com/andrewrcrane">AndrewRCrane</a><span style="font-size: 12pt;">)</span></span></div>
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<b style="font-size: 12pt;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">Old Red Lion Theatre, <st1:place w:st="on"><st1:city w:st="on">London</st1:city></st1:place></span></span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">***</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">Sprocket Theatre don’t waste any time in setting the mood for their presentation of Lila Wheelan’s bleak new play <i>The Deep Space</i>. On entering the dimly lit auditorium, the audience is greeted by a girl in a tracksuit huddled on a camp bed, a traumatised look across her face. This proves a fitting warm-up for the oncoming slew of gritty drama and disturbing realism, and although the emotional punches it throws certainly sting, they lack the heavyweight to knock out.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin9h8TkpfRWxT_ZW5pUAvcC6IBTZ8pLLpMXyoYKRJp_LzcUZ07lN9mj2ZZn4xZ2n_pWByF1KYH6F4_1iT9rTpgYy2Iv4cNx44ssl91ANI7KtJMixcEqCkbI5hSJ4u6UYLqyLYkQTD6vHk5/s1600/Deep+space1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin9h8TkpfRWxT_ZW5pUAvcC6IBTZ8pLLpMXyoYKRJp_LzcUZ07lN9mj2ZZn4xZ2n_pWByF1KYH6F4_1iT9rTpgYy2Iv4cNx44ssl91ANI7KtJMixcEqCkbI5hSJ4u6UYLqyLYkQTD6vHk5/s400/Deep+space1.jpg" width="400" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">The play explores the intimate details of working class Samantha’s (Abbiegale Duncan) life in the lead up to a tragedy, as they are drawn out by Lawyer/Psychiatrist/Caseworker Caitlin (Lila Whelan) as the two converse in a sort of holding cell. The setting and character details are deliberately vague as the slow and steady flow of information to eventually reveal the entire picture is the main technique employed to keep a firm grasp on the audience.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP1E2O_9B-KfvfgbZDiOtLdIYJYpXLESSAWg4P2M2VtMQB416zGHdAQDQnV0DAuwq9VL0eppqZQTfpi0PT3ViHT7sIwFi_x6fa8Bo43Gb1K_Gpn0425a4XbbJduHhgunxLKSp-qmLduX3C/s1600/Deep+Space2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP1E2O_9B-KfvfgbZDiOtLdIYJYpXLESSAWg4P2M2VtMQB416zGHdAQDQnV0DAuwq9VL0eppqZQTfpi0PT3ViHT7sIwFi_x6fa8Bo43Gb1K_Gpn0425a4XbbJduHhgunxLKSp-qmLduX3C/s320/Deep+Space2.jpg" width="320" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">The intimate setting of the Old Red Lion Theatre is used to strong effect, projecting the audience into the heart of the unfolding turmoil, and with the cast of only four, connection with the characters is maximised through this. One of the most interesting design elements of the set is the newspapers that adorn the walls, which hint at an exploration of media portrayals versus truth. During the play however this concept seems to be ignored, choosing to show only a dark reality which although powerful, could have been made more interesting had this context been further explored. This is really where the play falters; the horrors it presents are given little context or presented from any new angle and consequentially aren’t particularly thought provoking and can sometimes fall a little flat </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicPiYpo6vmTruxlJ4sV3C1T8yoYaNObPHtqbZbZPnBUiu3q3eg0w-rAwnSsRpgQ6w968VpoX4PA8ATrBOuT3JFpPVqQ3_NcABAbb95etLPmyi-34HjiZkwCXebsdsk0ViVCrwvSGn0Df35/s1600/Deep+Space6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicPiYpo6vmTruxlJ4sV3C1T8yoYaNObPHtqbZbZPnBUiu3q3eg0w-rAwnSsRpgQ6w968VpoX4PA8ATrBOuT3JFpPVqQ3_NcABAbb95etLPmyi-34HjiZkwCXebsdsk0ViVCrwvSGn0Df35/s320/Deep+Space6.jpg" width="320" /></a><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">Despite this, Claude Girardi’s direction is very slick, transitions between the present and flashbacks into Samantha’s life are handled with a minimum of fuss; sound fades in and the lighting changes and the piece flows because of it, ensuring that the audience isn’t given reason to lose focus, which is further aided with each member of the cast giving a commendable </span>performance<span style="font-size: small;">. </span><st1:place style="font-size: 12pt;" w:st="on"><st1:city w:st="on">Duncan</st1:city></st1:place><span style="font-size: small;"> as Samantha displays a touching vulnerability and gives strong cause for empathy, whilst Oliver Yellop as her boyfriend Liam manages to believably create the charming yet deplorable duality of his character’s personality. Sarah Fraser skilfully delivers our much needed comic relief as Samantha’s ditzy friend XXXX, without ever devaluing the drama of the piece, and Whelan provides us with arguably the most intriguing character of the piece with the cold and mysterious Caitlin, who despite being the one asking all the questions, threatens to reveal secrets of her own.<o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">In this production, Sprocket Theatre has displayed a considerable amount of talent and promise as a budding new company. Although <i>The Deep Space</i> doesn’t necessarily bring anything new to the table with the themes it presents, it is nonetheless an engaging and powerful piece of theatre.<o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i><span style="font-size: small;"><span style="font-size: 12pt;">This production runs until 9th March 2013.</span></span><o:p></o:p></i><o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">For more information: <o:p></o:p></span></span><span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.oldredliontheatre.co.uk/the-deep-space.htm" target="_blank">http://www.oldredliontheatre.co.uk/the-deep-space.htm</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">@ORLtheatre @SprocketTheatre<o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><span style="font-size: 12pt;">Follow us on <a href="https://twitter.com/whatspeenseen" style="color: blue;" title="https://twitter.com/whatspeenseen">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" style="color: blue;" title="http://www.facebook.com/whatspeenseen">Facebook</a></span></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01104802620699446666noreply@blogger.com0tag:blogger.com,1999:blog-3439084334788268924.post-36897621681067399742013-02-26T09:00:00.000+00:002013-02-27T23:58:29.630+00:00The Mikado - review<span style="font-family: Trebuchet MS, sans-serif;">Written by: <a href="https://plus.google.com/108117635761521829360/posts">Chris O'Shaughnessy</a> (<a href="http://www.twitter.com/chrisse20" target="_blank">@ChrisSE20</a>)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<b><span style="font-family: Trebuchet MS, sans-serif;">Tabard Theatre, London</span></b><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">****</span></b><br />
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<br />
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">For the first ten
minutes this version of Gilbert and Sullivan’s operetta <i>The Mikado</i>, here set in the trendy The Royal Japan Golf Club and
Spa (a green, pink and black Japonaiserie conservatory by Christopher Hone) - an
axe among the golf clubs displayed on the wall - comes across as a fairly pedestrian,
small-scale, bargain-basement, youthful rendering of this perennial classic.
But with Ed Norwood’s entry into the mix as Ko-Ko, the Lord High Executioner,
the production shifts, gloriously, into an entirely different register -
effervescent, fun-filled - and stays that way until the finale.</span></span></div>
<a name='more'></a><span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-0Og7qkjc-Oo/USv9J03QxiI/AAAAAAAACOc/gMd081ea9bs/s1600/IMG_2231.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="320" src="http://1.bp.blogspot.com/-0Og7qkjc-Oo/USv9J03QxiI/AAAAAAAACOc/gMd081ea9bs/s320/IMG_2231.JPG" width="222" /></span></a></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">Norwood offers a
hilariously camp, effete, smiling Executioner and galvanises the cast into a
conspiratorial sense of mischief and misrule from then on. His ‘little list’
song (of all those he would execute and would not miss) is as amusing and
outrageous as I have heard, being delivered almost intimately in this 96-seat
theatre, including on it, as read from an iPad: Simon Cowell, purveyors of
horse-meat lasagne, and a variety of ecological fanatics. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">Nanki-Poo (Michael
Riseley), the son of the Mikado, has fled the court after being promised in
marriage to the horrible Katisha (Susanna Kempner, an <i>Eastenders</i> vision in market-stall tat and severely dropped
consonants). Disguised as a wandering minstrel, he has fallen in love with Yum-Yum
(Emily Davies), a ward of Ko-Ko. Realising that Ko-Ko is about to be beheaded for
flirting he has returned to Titipu only to find that Ko-Ko has in fact been
reprieved and is now the Lord High Executioner. All convolutions of the ridiculous
plot, and there are many, stem from this basic situation. The golf club setting
is feasible given that the operetta is as much about English mores, behaviour and
prejudices as those of Japan - although some of the more vicious punishments described
by the Mikado (Stiofan O’Doherty, like something out of a modern Japanese
horror flick) have a disturbing contemporary international resonance.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">The piece is very well
sung and highlights of the show include the delightful <i>Three Little Maids from School</i>,<i>
</i>here performed by a bunch of three disenchanted mobile phone-brandishing
teenagers; <i>Braid the Golden Hair</i>,
with an original take on hair-braiding which would make Vidal Sassoon turn in
his grave; the lovely <i>The Sun whose Rays are All Ablaze</i>, poignantly
sung by Emily Davies; a manic <i>Here’s a
How- de- Do</i>; a rueful, reflective <i>The
Flowers that Bloom in the Spring</i>; and the mock pathos of <i>On a Tree by a River</i>, sung with just the
right degree of knowingness by Susanna Kempner and Ed Norwood.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-1HN0Dwb-aM0/USv9NDIoJSI/AAAAAAAACOk/-2ROR03eWzg/s1600/IMG_2659.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="213" src="http://3.bp.blogspot.com/-1HN0Dwb-aM0/USv9NDIoJSI/AAAAAAAACOk/-2ROR03eWzg/s320/IMG_2659.JPG" width="320" /></span></a></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">The choreography at
times seems dizzying on this small stage but no one collides with anyone else,
except perhaps with the wall on one occasion, and Matthew Johnson keeps the
whole concoction vibrant, inventive and engaging. The excellent four-piece band
plays discreetly aloft in a kind of minstrel’s gallery (keyboard and musical
director Jerome van den Berghe with musicians Rachel Parry-Ridout, Ruth Wybrow
and Andrew Willshire). Lighting by Steve Lowe is subtle and transformative. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">In all, the show
coheres well as a (gender-bending) ensemble piece led by star-in-the-making Norwood
and is one of the most entertaining <i>Mikado</i>’s
London has yet seen.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><i><span style="font-family: Trebuchet MS, sans-serif;">This production runs until 17 March 2013. </span></i></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Trebuchet MS, sans-serif;">For more information: <a href="http://www.tabardtheatre.co.uk/" target="_blank">http://www.tabardtheatre.co.uk</a></span></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">@TabardTheatreUK</span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">Follow us on <a href="http://www.twitter.com/whatspeenseen" target="_blank">Twitter</a> / Like us on <a href="http://www.facebook.com/whatspeenseen" target="_blank">Facebook</a></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/17616812427893082415noreply@blogger.com0