Category: London theatre

Review: Beautiful Little Fools at the Cockpit Theatre

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Beautiful Little Fools is the debut production from all-female company Optic Theatre – and it’s clear they mean business. Intense, brutal and with a conclusion that’s genuinely quite traumatic, the show takes an everyday situation to the ultimate horrifying extreme, showing what human beings are capable of when exposed to a relentless stream of hatred and lies.

Three young women wake up in a room, with no idea of how they got there or even who they are. There’s no way of leaving, and each of them is wearing an electric ankle bracelet that delivers a painful shock every time they step out of line. Every day they’re forced to listen to disembodied voices – which we recognise as those of public figures including Margaret Thatcher and Donald Trump – discussing the danger posed by immigrants. And then a new girl arrives…

I’d love to say this story is far-fetched – and of course it is, in the sense that the British government doesn’t really have bunkers full of terrified prisoners who are being slowly radicalised (or at least let’s hope not). But the way in which the girls are manipulated in their torture chamber/Big Brother house is unnervingly familiar, and with people like Katie Hopkins advocating “final solutions” in the mainstream media, the play’s shocking climax doesn’t seem like such a wild stretch of the imagination.

Anna Marshall’s production successfully depicts the passing of time (though exactly how much is hard to tell), with movement sequences between scenes that demonstrate the captives’ mind-numbing routine. Each time we come back to them, they’ve lost a little more of their humanity, as they play mind games, form alliances and turn on each other in their desperation to survive the ordeal. In 60 gripping minutes, Jemma Burgess (who also wrote the play), Sophia Hannides, Isabel Goldby-Briggs and Jessica Collins take us on a rollercoaster ride through shock, fear, anger, hysteria and hatred – but also some deeply moving moments of vulnerability that remind us these young women are human beings just like us, whatever they may find themselves driven to do.

The play unflinchingly exposes its audience to the same treatment as its characters. We listen to the same abhorrent recordings at least three or four times, and endure flashing lights, high-pitched tones and crackling electricity (courtesy of sound designers Dan Bottomley and Davide Vox). It’s deeply unsettling, even for just an hour, and makes it easy to believe that after days, weeks or even months of this treatment, the girls might be willing to do just about anything to gain their freedom.

Beautiful Little Fools is an exciting debut from Optic Theatre, a thrilling and disquieting reminder of the power of words to change hearts and minds, for better and for worse. It would perhaps have been easy to dismiss as impossible a couple of years ago – but with hate crimes on the rise, Brexit going ahead and Trump in the White House, the play is not only timely; it’s terrifying.


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: Boom at Theatre503

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What would you do if you knew the world was about to end? Call your loved ones, spend all your money, ditch the diet…? All good answers – unless you’re marine biologist Jules, who has a different approach. He’s predicted the imminent apocalypse by observing the behaviour of his fish, but having failed to convince anyone to take him seriously about the threat, he’s made his own arrangements: luring unsuspecting student Jo to his lab/bunker for what she thinks is a fun night of no strings sex. It’s only when she discovers a drawer full of diapers that it dawns on her Jules’ promise of “intensely significant coupling” might have been more than just good marketing…

Photo credit: Lidia Crisafulli
Boom by Peter Sinn Nachtrieb is a play of two halves. It begins as an enjoyably off the wall romantic comedy about two people thrown together in the most extreme circumstances. Will Merrick and Nicole Sawyerr are great as the unlikely couple – he’s an earnest nerd who genuinely can’t understand her reluctance to be Eve to his Adam; she’s a wannabe journalist with a sharp tongue, dismayed by her latest disastrous life choice. They’re so terrible together that it actually works… at least to begin with.

Then the world ends, and things take a bizarre and mildly baffling turn with the sudden intervention of Barbara. Up to this point, Barbara’s been sitting in the corner, pulling levers and providing enthusiastic percussive sound effects for what we now learn is a museum exhibit several millennia from today, educating future generations about “the Boom”. Barbara’s not supposed to talk, she informs us, before going on to do exactly that – frequently, and at great length.

It’s here that the play seems to lose its way a bit, as Barbara, played with joyous abandon by Mandi Symonds, goes pretty quickly from amusing and lovable to verbose and more than a little irritating as she constantly interrupts proceedings to talk about her own issues. Some of her monologues are utterly surreal (in particular the bit where – a propos of absolutely nothing – she decides she must tell us how she was conceived; and no, it’s not in the way you might think) and her behaviour increasingly erratic, which is entertaining but gets in the way of the play actually making a point. As a fan of dystopian fiction who’s fascinated by the psychology of survival, I was looking forward to a juicy exploration of Jules and Jo’s evolving relationship, but we spend less and less time with them as Boom slowly but surely becomes Barbara’s story instead. Having enjoyed the randomness because I assumed it would all make sense in the end, I left 90 minutes later with very little idea what I was meant to be taking away other than a feeling of slight bewilderment, and a new respect for fish.

Photo credit: Lidia Crisafulli
All this doesn’t mean the play isn’t funny; it is, and all three members of the cast give great performances. But the humour lies mainly in the awkward relationship between Jules and Jo, and in Barbara’s lively personality, rather than in the end of the world story itself. There are fewer laughs in the second half of the play – partly because, well, the world’s ended and our characters find themselves in dire straits; and partly because by this point things have got so bizarre it’s difficult to know how to respond to anything that happens.

For this reason, it’s difficult to give a conclusive opinion on Boom. It may be that in a few days’ time, something clicks into place and I suddenly get it. Right now, though, I’m still trying to figure out what hit me.


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: Anthony Orme, Sanctuary

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2040. The war is over, and the world is resolved… so why can’t Kari remember anything? What is S.A.M. and how can she escape Sanctuary?

So begins Anthony Orme’s feminist sci-fi thriller, Sanctuary. “In the aftermath of the war, Kari Allwood wakes in a cell with no recollection of how or why she got there,” explains Anthony. “We see as she struggles to survive her life as a woman in the army and to comprehend the mistakes that she has made and conquer her own mental instability. Tackling the subjects of women at war, PTSD, and the essence of human self-preservation, Sanctuary creates an exciting and thrilling whirlwind of a show that will leave you questioning your own view on life as we currently understand it.”

Anthony was inspired to write Sanctuary by two main factors: “The first was my own history and exploration of mental health and its effect on my own life, and secondly the lack of representation of women in war and theatre,” he says. “Having struggled with mental health issues all my adult life but never really having a way to present parts of it, I wanted to create a piece that discussed this as well as being entertaining and enthralling – which is where the idea of Sanctuary was born. From there I started to look closely at PTSD and the women who suffer from it and how little we hear about them, much like strong females in the arts. All three combined became the perfect inspiration for a play.

“I’ve always been a massive fan of sci-fi. I think when done correctly, it enables viewers to see and acknowledge problems in their own society without even realising. The entertainment and escapism of future and the unknown wraps the audience in a blanket of theatre and art which allows them to soak in the political and social undertones of a piece. With a piece like Sanctuary there is no other genre it could have been. Plus it’s also very rare to find a strong piece of sci-fi on stage and so I was very up for taking on the challenge.”

As writer and director, Anthony is full of praise for actors Elizabeth Robin and Catalina Blackman. “They are two of the most hardworking and dedicated cast I have had the pleasure to work with. Sanctuary is not an easy play – it’s intense, real and a challenge for any actor, yet these two incredible women have been stoic throughout. Both characters are equally challenging – one is never on the stage and so has to express empathy, fear and desire using only her voice, while the other never leaves and has to hold the show and bare a lifetime’s worth of emotions alone and exposed. They truly are artists of their craft.

“It’s fair to say that we have had our fair share of personal trauma throughout the rehearsal process, which leaves me in even more awe of the incredible performances they have delivered.”

With themes of feminism, LGBT, mental health and war, Anthony believes every audience member can take something from the play. “Maybe I’m biased, but I feel that Sanctuary speaks to people from all ages and creeds,” he says. “I might add that due to very adult themes and language it may be best to restrict the viewing to audiences above the age of 16… but we all learn sometime.”

In addition to winning Best Play at the Stockwell Play House One Act Festival, Sanctuary is also Bechdel approved. “The Bechdel Test and Bechdel Theatre are in my opinion one of the most important companies in the arts at the moment,” says Anthony. “Their aim is to bring awareness to pieces of theatre that have strong feminist bases. The test is simple:
1. Are there two women on stage?
2. Are they talking to each other?
3. Does that conversation involve anything except men and relationships?
Congrats – you have been approved.

“Why it is so important to me? In short, there is too little theatre around with strong female characters, and too much that thinks their characters adequately represent real women. It has always been a strong passion of mine to create parts for women and to prove that feminism and equality aren’t fads… they are here to stay. Having Sanctuary Bechdel approved not only proves that we have been able to, but also helps to raise awareness of this glaring issue and highlights to fellow feminists the theatre they should be seeing.”

London and Merseyside-based Now You Know Productions was founded four years ago. “We started as most small companies do, with a few friends, in a bar, wanting to take a piece of theatre to the Edinburgh Fringe, and we did,” says Anthony. “We took I Love You, You’re Perfect, Now Change up and haven’t looked back since.

“Since our first outing, Now You Know has grown and developed into the company it is now, a company who creates new and exciting theatre that constantly tries to break the mould and highlight the real issues at hand. We are always looking for the next best play and team and constantly growing. Commercial theatre to some extent has forgotten what theatre is for, which is to enlighten, to teach and to empower… we have not forgotten this message.”

Sanctuary opens at the Tristan Bates on 14th August. “I think people should come and see the play because it’s exciting, different and the themes are important,” says Anthony. “It’s not just another millennial piece of theatre where boy meets girl – it has a message and a purpose, one which I think matters. That’s why we decided to go to the Tristan Bates, a space that prides itself on fringe theatre at the front of change.

“Also having won best play, as well as highly commended directing and acting at the Stockwell Playhouse One Act Festival, people don’t need to just take my word for it.”

Book now for Sanctuary at the Tristan Bates Theatre from 14th-19th August.

Interview: Julian Bruton, HOT MESS

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“HOT MESS is a coming-of-age story about love, sex, connection and relationships,” says Julian Bruton, co-director of Vernal Theatre Company. “The play is about twins, Polo and Twitch, who have returned to their hometown to celebrate their 25th birthday. Inherently one twin can love, the other cannot. The story unfolds on their big night out, as the twins and their friends come to terms with their dichotomy.”

The play was written by Ella Hickson, whose other work includes Oil and Eight, and was first performed in 2010 at the Hawke & Hunter Below Stairs Nightclub as part of the Edinburgh Fringe. “I think what makes Ella Hickson’s work special is how it explores and challenges themes and subject matters that are relevant to audiences today. Her latest play, Oil at the Almeida, is a brilliant example of that,” says Julian.

“I was attracted to HOT MESS by its unique form. When it comes to plays, I admire plays that are unique, adventurous and different in their form. Anatomy of a Suicide at the Royal Court is a good recent example. An integral part of the form of HOT MESS was its direct storytelling to the audience; the lack of fourth wall. I was also drawn to this play because of its focus on younger characters and their experiences pertinent to them. I feel there are not a lot of plays that solely explore characters of that age range.”

In light of this, Julian thinks the play will particularly appeal to twenty-somethings and teenagers, but he hopes it’s also got something for other audience demographics: “I think people should come and see the show because it’s entertaining and funny, with a good dose of pathos and a thumping soundtrack. Another reason to see the show is because it’s very relatable. It’s a play about love. In an age of social media and phone apps such as Tinder and Grindr, exploring the challenges of finding love and connection couldn’t be more relevant. I’d like audiences to have an entertaining experience and as part of that, to delve and ponder the play’s explorations of love, sex and coming-of-age.”

HOT MESS opens at the Lion and Unicorn on 22nd August as part of the Camden Fringe. “I’m looking forward to being part of the buzzy atmosphere of Camden and its equally exciting festival!” says Julian.

He’s just as excited about the play’s cast: “They’re a group of actors who are really active and in the thick of it. Timothy Renouf has recently finished filming the upcoming feature film, Game Over, with Mark Heap. Gareth Balai has only just finished appearing in The Taming of the Shrew at The Brockley Jack Studio Theatre with Lazarus Theatre Company. Katrina Allen recently performed in a new play, Baby Come Back, at the Leicester Square Theatre, and Natalia Titcomb graduated from the Guildford School of Acting this year.”

Vernal Theatre Company was founded earlier this year by Julian and co-director/producer Kieran Rogers. “The company started when Kieran and I met at the Director’s Club, as part of the Director’s Cut Theatre Company,” says Julian. “We also met and worked with Katrina and Timothy as they were members of the Actor’s Club with Director’s Cut.

“As a company, we have an aim of producing new writing in the future. We aim to produce theatre that is current, exciting, bold, entertaining and provocative.”

Book now for HOT MESS at the Lion and Unicorn from 22nd-26th August.

Interview: Claire Rammelkamp and Danica Corns, A Womb of One’s Own

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The founding members of emerging all-female theatre company Wonderbox – who include Danica Corns, Carla Garratt, Claire Rammelkamp, Holly Bond, Larissa Pinkham and Olivia Early – met as members of the National Youth Theatre. “We got so comfortable with each other that we started oversharing about sex, periods, emotions, mental health, politics, relationships, wanking… the list goes on,” admits Claire. “So we decided to carry on doing that as a theatre company, and turn it into art. We want to explode taboos and share unheard stories with some filthy, fabulous feminism.”

They’re turning their attention first to the issue of abortion in their debut production A Womb of One’s Own, which runs at The Space from 15th-19th August.  “The play follows the story of Babygirl, an eighteen-year-old fresher who was raised Catholic by two strict elderly women and ends up getting pregnant the first time she has sex,” says Claire, who wrote and performs in the play, as she and fellow cast members Danica, Larissa and Carla bring Babygirl to life, revealing different aspects of her personality and an absurd cast of characters. “It starts off as a coming of age comedy; she’s learning how to flirt and get drunk, she’s exploring her sexuality, she’s trying not to embarrass herself on a date. Then all of a sudden she’s facing much bigger challenges.”

A Womb of One’s Own was inspired by Claire’s own personal experience: “I had an abortion at university, and I had no idea how to handle it because no one had ever spoken to me about abortions. Fortunately, I have a very supportive Mum and friends. Babygirl doesn’t have a mother, and she’s only been at uni a few weeks, so the play explores what it would be like to go through an abortion feeling totally alone.”

One of Wonderbox’s aims is to break the taboos surrounding abortion and get people talking about what’s traditionally been a difficult subject. “We’re still oddly hung up on old-fashioned notions of propriety when it comes to discussing abortion,” says Claire. “It used to be the same for divorce and homosexuality. Even periods. One in three women in the UK will have an abortion at some point, and yet people are largely silent about it. If we all spoke about it more then women wouldn’t feel scared or ashamed. We’ve still got a lot of education work to do to give women control over their own bodies and we need to make sure we don’t go backwards – like with Trump’s abortion gag order.”

Despite the heavy topic, Claire and her co-founders are quick to point out that the show is at times irreverent and laugh-out-loud funny: “I’m a firm believer in laughing at essentially everything, especially myself. We didn’t want to be didactic – an audience will pay much more attention to a comedy full of sex jokes than a lecture. It also helps to humanise a character; once the audience have shared a joke with Babygirl they’ll have more empathy when she starts having a hard time.”

And it seems to be working; they’ve been thrilled with early responses to the show, which include an endorsement in February from actor Paul McGann. “Our first performance was to a bunch of queer, feminist, theatre-lovers, so we were really preaching to the choir,” says Claire. “But then our second audience had middle-aged people, older people, Tories, and a vicar. The vicar was especially fond of it.”

Of course, starting a theatre company isn’t always easy, and co-founder Danica has no hesitation in identifying their biggest challenge: “Money! We’re a young, unfunded theatre company so this is of course the first and biggest obstacle we are having to overcome – but we are getting creative with how we do this. Finding rehearsal space free of charge has been and remains one of the biggest challenges we face, and so far we have been getting round this by using gardens, living rooms and empty classrooms at our universities/previous places of study. We even once did a voice warm-up on Clapham Common. Social media has also been a great alternative to a website for us in the first instance to help build our online presence while funding is scarce.

“Around 90% of the work we put into the company and the show is not in the rehearsal room,” she adds. “We’ve all had to turn our hands to other things and use our skills and knowledge effectively and efficiently. We’re lucky enough to have a photographer, a designer, a marketer and members with lighting technician knowledge within our company, so we haven’t had to hire anyone in yet – which would come with a cost. However, while we’re all working hard on this to get things off the ground, we have found it difficult balancing being creative and making the art with the admin and running the business side of the company – it’s a bit of a juggling act at the moment, and we’re still figuring this out. One of the things we are finding so important is timetabling separate rehearsals for creativity and meetings about important business stuff.”

Claire’s hoping that the show will speak to everyone, whether or not they have personal experience with abortion: “I hope if they’ve had an abortion, they’ll feel a sense of community, and that anyone who needs an abortion in future won’t feel so alone. I hope it encourages people to share their own experiences, and I hope it will make other people more understanding. I also hope everyone will wet themselves laughing.”

A Womb of One’s Own is at The Space from 15th-19th August.