London theatre – Page 110

Interview: Owen Calvert-Lyons, Ovalhouse

Published on June 26, 2016June 26, 2016 by LizLeave a comment

Owen Calvert-Lyons was recently appointed as the new Head of Theatre and Artists’ Development at Ovalhouse Theatre in South London. The former artistic director of The Point and The Berry theatres in Hampshire joins the Ovalhouse team as they prepare to move to a new home in Brixton in 2019.

So what does a Head of Theatre and Artists’ Development actually do? “My role is to ensure that art and artists are at the centre of everything that we do,” explains Owen. “I want to give a voice to a new generation of artists, particularly those from South East London. I will programme the mainhouse (Downstairs) and studio (Upstairs) theatres, commission artists to create new works and I’ll build an artist development programme which supports, nurtures and champions artists.

“My first season of programming will be Spring 2017, which will see a really exciting mix of new and familiar artists presenting bold and innovative productions. Before that, in July we have Seiriol Davies’ How to Win Against History, which is a hilarious, anarchic new musical.”

The new Head of Theatre is full of plans for audiences and artists alike: “I want to grow our audiences. I want people from across London to see Ovalhouse as a place that they can come to enjoy performances by the most exciting artists around.

“And I want us to be an artist’s first port of call when they have a great idea. A place where they can make their vision a reality. Ultimately, artists want to create great work and audiences want to see great work. We are creating an environment in which artists and audiences can come together to explore new ideas.

“Ovalhouse is a special venue, with a long history of radicalism. This has meant something different for every decade: feminist theatre, LGBT theatre, political theatre, performance as protest etc. This has meant that Ovalhouse has been a space for new ideas and new voices, which is always where the most exciting work comes from. We are in the process of defining what we think radicalism means for 21^st century artists and audiences.”

Owen joins fellow new recruits Stella Kanu (Executive Producer) and Gary Johnson (General Manager) at a huge moment in the theatre’s history, as plans get underway for the move to Brixton: “Stella and Gary are great. They are bringing new ideas and new ways of working. This has engendered a feeling of energy and optimism amongst the whole team, so that we are all working together to ensure that Ovalhouse has a really exciting future.

“The whole team is bubbling with excitement about the move. The new venue will be right in the heart of Brixton. One of the things that makes it distinctive is that it will have seven rehearsal rooms, so it will be a creation centre full of artists making extraordinary things.

“Many of the spaces will be rigged for aerial work, so we will be able to support the development of contemporary circus as well as theatre and dance. The two new performance spaces will be bigger than the existing Ovalhouse studios and better equipped, so we can make even more exciting work for even bigger audiences.”

Find out more about How To Win Against History, and see what else is coming up in the Ovalhouse Spring/Summer 2016 season at www.ovalhouse.com.

Review: Macbeth at New Wimbledon Studio

Published on June 25, 2016July 22, 2018 by Liz1 Comment

Macbeth: the story of a man driven by personal ambition to destroy his friend and leader, and seize the crown for himself. Sweeping aside anyone who gets in his way, he ultimately leads his nation into civil war…

There could not have been a more pertinent day to see Arrows & Traps’ production of Macbeth at New Wimbledon Studio. Macbeth isn’t an easy watch at the best of times, but the events of the previous 24 hours lent last night’s performance an extra intensity that nobody could have foreseen, and took Ross McGregor’s adaptation from pretty dark to full-blown horror. (A brief addition to the script referencing the shock EU referendum result met with a split second of laughter, until we all remembered it was based in reality, and not actually very funny.)

The irony of Shakespeare’s play is that Macbeth isn’t a totally bad guy (though not a particularly nice one either, obviously) but rather someone who allows himself to be led onto a dark path and discovers too late there’s no way back. As Macbeth and his wife, David Paisley and Cornelia Baumann are genuinely frightening – he’s full of violence and rage, while she’s cold and calculating, and together they spin a web of lies and commit crimes that are increasingly bloody and shocking. And yet the revulsion we feel is not without more than a hint of sympathy; both characters ultimately break under the weight of their guilt, and their passionate relationship of the opening scenes disintegrates into one of tension, fear and suspicion. It’s in these moments of vulnerability that Paisley and Baumann are at their most compelling; the pain they feel is palpable and devastating to witness.

It’s not just the Macbeths that are out to scare us, though; McGregor wanted his Macbeth to be one that’s all about fear, and he’s got his wish. The three witches, played by Elle Banstead-Salim, Olivia Stott and Monique Williams, are part-demon, part-seductress, and their regular appearances on stage throughout the play remind us who’s really in control of events. There’s no shortage of blood and gore from the start, and a few jumpy moments just to keep us on the edge of our seats. And then there’s Banquo’s ghost…

In the kind of original twist that we’ve come to expect from Arrows & Traps, in this production almost all Macbeth’s victims are female – most notably Duncan (Jean Apps) and Banquo (Becky Black) – as are his hired assassins. Seeing this violence both from and against women is a shock to the audience, hammering home the depths to which Macbeth is driven in his thirst for power. And it puts a fresh perspective on the relationships in the play – both Duncan and Banquo are loving mothers who share tender moments with their sons, while we’re also led to wonder about the exact nature of Macbeth’s friendship with Banquo as the play begins.

Like the company’s previous production, Anna Karenina, the show’s a visual feast; there’s smoke and blood galore, and some intense physical scenes from fight director Alex Payne. The climactic scene of Macbeth’s death is particularly stunning, with choreography, movement and music coming together to turn a moment of violence into something quite beautiful from which it’s impossible to look away.

The set is simple – just a table at the centre of the stage – and without the need for elaborate set changes, the production moves along at a rapid pace. The overlapping of some moments is particularly effective, as is the use of freeze frame during the dinner scene, contrasting Macbeth’s dark intentions with the merriment of his guests. And music is used to great effect to add drama, giving the play a very cinematic feel that seems to extend far beyond the theatre’s small stage.

This is the third Arrows & Traps production I’ve seen, and each time I’m surprised and delighted by their unique, inventive take on classic works. Their Macbeth is a political and supernatural thriller that’s as gripping as any episode of Game of Thrones (the body count is about the same, too), and reminds us once again of Shakespeare’s continuing relevance 500 years after his death. As depressing as that relevance may occasionally be.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Ross and Rachel at Battersea Arts Centre

Published on June 22, 2016January 6, 2018 by LizLeave a comment

You know how we’ve all been demanding a Friends movie for years? Well, I changed my mind. In Ross and Rachel, James Fritz gives us a glimpse into the future of arguably one of TV’s most iconic couples – and it’s not pretty.

Presented as a rapid-fire duologue by solo performer Molly Vevers, and directed by Thomas Martin, the show explores what happens to the on-again, off-again couple after they finally get together, as doubts begin to creep in and an unexpected (and decidedly unfunny) crisis threatens the perfect future we all envisioned for them. Delicately constructed, with enough hints for any self-respecting Friends fan to feel at home, yet sufficiently vague that we could be listening to any couple, anywhere, Ross and Rachel is both a treat and a trauma for devotees of the TV show, taking us on a harsh reality trip outside the comfortable world of sitcom, and far beyond the happy ever after moment.

The ‘duologue for one person’ format takes a little while to get used to – like its characters, the two players in the drama blend into one unit, so it’s not initially obvious who’s saying what. Fortunately, through a combination of Fritz’s skilful writing and Molly Vevers’ spell-binding (and award-winning) performance, it takes a surprisingly short time to unravel the two voices from each other – and by the end of the play, it’s with a feeling of mild surprise you realise there’s only ever been one performer on stage.

The fact that most audience members already know the characters inside out is a double-edged sword; on the one hand, no introduction is needed, and it doesn’t take much for us to invest emotionally in their story. On the other, taking apart this golden couple and revealing them to be two real, flawed human beings just like the rest of us is a huge challenge – but one to which Vevers rises magnificently. She has the audience’s undivided attention from the moment she appears on the dimly lit stage, perched on the edge of a shallow pool and nursing a cup of coffee (what else?). Effortlessly embodying both roles, she delivers Fritz’s lines with passion, emotion and boundless energy, making us laugh and cry almost in the same breath.

Ross and Rachel isn’t really about Ross and Rachel, of course – it’s about the idea of relationships that popular culture sells us. We’re raised on a diet of romcoms and happy endings to believe that meeting ‘The One’ should be our goal in life, and that once we’ve found them, our lives will somehow freeze forever in that beautiful moment. This play exposes the sad reality – that sometimes a perfect ending is just the start of an imperfect next chapter. And if you think that sounds depressing… well, it is a bit. But sometimes the truth hurts.

There’s no doubt Ross and Rachel is a brilliantly written and impeccably performed play. I’m glad I saw it – but unlike every episode of Friends, I’m not sure I’d want to watch it again (or indeed 10, 20, 30 times… I lost count a long time ago). There’s nothing wrong with a dose of reality from time to time – but nobody looks to sitcoms, fairy tales or romantic movies for reality. They provide us with an escape from the challenges and mundanities of everyday life, and exposing their flaws – however affectionately – feels just a little bit cruel and unnecessary.

But hey, it’s nothing a Friends binge won’t fix…

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Interview: Teresa Burns, How It Ended

Published on June 20, 2016June 20, 2016 by LizLeave a comment

“The little gardener worked very hard but he was just too little to make a difference. One night, he makes a wish ‘for a little bit of help’ and as he sleeps the local children, inspired by his beautiful flower, help bring his garden to life.”

So begins the story of Emily Hughes’ The Little Gardener, adapted by How It Ended, in association with Scamp Theatre. Dramaturg and co-artistic director Teresa Burns explains what drew the company to the story:

“We’re big fans of Emily Hughes so we were very excited about the book’s release last year. The Little Gardener felt like perfect subject material for adaptation, particularly outdoor theatre – not only because of its setting but because of its message about community. The story beautifully illustrates the impact an act of kindness can make on a person’s life and how it can inspire them to carry on.

We’d love our audiences to take away a sense of community; a feeling that by working together you can make something really special.”

The play, which is currently touring and free to attend, is set in a greenhouse, containing a real garden. “The greenhouse is interactive in the sense that it can be opened up to allow children inside. Inside the greenhouse sits a large tree (wherein the Little Gardener sleeps) and flower beds – ready for planting! The set is designed and built by James Lewis, who’s done a remarkable job. The set breaks down into 28 pieces and we tour with over 100 flowers.”

It’s not the company’s first collaboration with author Emily Hughes. “Last year, we worked with Emily on the stage adaptation of her debut book Wild and we conducted a really successful period of research and development. We’re hoping to bring Wild to theatres in 2017.

“Emily is such a joy to work with. From day one she has been so warm and encouraging. She isn’t precious about her work and pushes us to delve deeper or go darker, which is really freeing.”

The fact that The Little Gardener is an interactive show does bring with it an element of unpredictability: “Every audience is different, so we’ve tried our best to prepare for every perceivable eventuality. But of course audiences will always surprise you! Some children are very comfortable with handling plants and getting their hands dirty, whilst others are understandably more hesitant, so it’s about making those children feel at ease. For each performance we have a lovely team of Production Assistants/Gardeners who are there to make sure the audience are happy.”

How It Ended’s goal is to excite young audiences and inspire the next generation of theatre makers. “The honesty and responsiveness of children is fantastic. They certainly let you know how they feel about the show whether it be positive or negative – you know where you stand! But making work for young children is boundlessly rewarding, they give back in ways older audiences don’t.

“When we opened the show last week at The Lyric we had lots of children linger around the greenhouse with their parents after the show. They wanted to make comments on the show and ask questions about the flowers and the greenhouse – which was wonderful. It’s great to see them discussing the show, as it hopefully challenges their expectations of what theatre can be.”

Catch The Little Gardener at Greenwich and Docklands International Festival (25th – 26th June), Watford Palace Theatre (2nd – 3rd July), Latitude Festival (17th July) and Stockwood Discovery Centre (29th – 30th July). All performances are free to attend and are non-ticketed. Ages 3+.

Review: Happy to Help at Park Theatre

Published on June 17, 2016January 6, 2018 by Liz1 Comment

If you thought a supermarket was nothing more than a place to pick up a pint of milk, think again. Happy To Help by Michael Ross opens the door to Frisca, the UK’s biggest supermarket chain, and takes us behind the scenes for one dramatic week, to reveal the internal politics and daily power struggles hidden behind the brand’s cheerful public face. It’s a sharp, clever comedy but with a serious message, in which the huge corporation is likened to an autocratic state, where speaking out against the regime can have dire consequences.

UK managing director Tony (Charles Armstrong) is doing his Secret Millionaire bit, on the advice of American boss Huck (David Bauckham), going behind the scenes at a Frisca branch to mingle with the workers. But little does he know that store manager Vicky (Katherine Kotz) has her own agenda… Meanwhile disgruntled employees Elliott (Jonny Weldon) and Myra (Rachel Marwood) are whispering about unions, and wannabe rockstar Josh (Ben Mann) has no intention of sticking around for long, even if he is everyone’s favourite shelf-stacker. For Frisca’s customers, it’ll be just another week, but behind the scenes everything’s about to change as a hilarious, shocking and unsettling chain of events is set in motion.

In a fantastic cast, Katherine Kotz gives a stand-out performance as the manipulative Vicky; with a sunny smile that never reaches her eyes, she prowls the stage, a figure of absolute authority and control – but with a slightly manic air that suggests she could lose it at any moment. Ben Mann also shines as the brashly confident Josh, who thinks he’s got it made by being teacher’s pet. The confrontation between Vicky and Josh at the end of Act 1 is masterfully constructed and performed; much like Josh, we don’t realise what’s happening until it’s too late.

Perhaps the biggest personality on stage, though – both literally (the brand name is emblazoned across Emma Tompkins’ set) and figuratively – is Frisca itself, a business so wildly successful that it’s come to dominate every area of our lives, without ever pausing to consider who might be suffering as a result. Directed by Roxy Cook, the play skilfully contrasts Frisca’s shiny public image with the less than glamorous reality, in which employees are devalued, dissatisfied, and anything but ‘happy to help’. Each scene change is punctuated by a soundtrack of till beeps and monotonous store announcements, and there’s even a perky (and frustratingly catchy) Frisca song. It’s a world governed by ridiculous rules and regulations, whose absurdity is hammered home by Tony – the man who wrote them – now having to abide by them.

But Happy To Help, which was shortlisted for the Liverpool Hope Playwriting Prize in 2015, is also a stark warning about the power that big businesses are allowed to wield over both us as consumers and the smaller firms that get in their way. As much as we may laugh watching the play, it actually paints a pretty bleak picture, and though the twist in the tale isn’t difficult to see coming, it still makes a powerful point. And it may make you think twice about ever setting foot in a supermarket again… at least until the next time you run out of milk, anyway.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉