London theatre – Page 71

Review: Mrs Orwell at the Old Red Lion Theatre

Published on August 6, 2017July 22, 2018 by Liz1 Comment

Fun fact to remember for future pub quizzes: George Orwell’s real name was Eric Blair. This is just one of the things to be learnt about the author of Animal Farm and 1984 in Tony Cox’s Mrs Orwell at the Old Red Lion. The play, directed by Jimmy Walters, charts the final months of Orwell’s life following the publication of 1984. Admitted to University College Hospital suffering from tuberculosis, a fragile George proposes to young, glamorous magazine editor Sonia Brownell, who goes on to become the second Mrs Orwell. Cox examines their relationship and the motivations of each party in this fascinating and moving new play, which also touches on Orwell’s politics, his guilt over the death of his first wife Eileen, and the universal need to be remembered after we’re gone.

Despite its title, the play is just as much the story of Mr Orwell as that of his wife, and Peter Hamilton Dyer absolutely commands the stage for almost the entirety of the evening. A hunched, pathetic figure in clothes that are far too big for him, racked by ill health and desperately lonely and afraid, it’s tragically clear that his wits are still as sharp as ever, and he longs to believe he has at least three more novels in him. George loves Sonia without hope or agenda, knowing full well her heart belongs to the French philosopher Maurice Merleau-Ponty, and his simple joy in just being around her is devastatingly well played by Hamilton Dyer.

As his new wife, Cressida Bonas is equally compelling. Clipped, efficient and often impatient, she also demonstrates an obvious affection for George that makes it difficult to work out Sonia’s true motivation. While she certainly seems swayed by the suggestion that she could benefit financially from the marriage, her grief when she learns of his death and her desire to honour his final wishes appear genuine and heartfelt. She’s not a particularly likeable character in the story – all our sympathy is spent on the vulnerable figure of Orwell himself – but at the same time, she’s not a villain of the piece either, and we find ourselves admiring her sacrifice whilst still questioning her motives.

A brilliant cast is completed by Rosie Ede as Orwell’s no-nonsense nurse, Robert Stocks as his fiercely loyal publisher Fred Warburg, and Edmund Digby Jones in a particularly intriguing performance as Lucian Freud. His scenes with Bonas are marked by a simmering sexual tension, while with her husband he’s relaxed and humorously frank about his own and others’ shortcomings. (In fact the play in general is surprisingly funny, considering it’s a story about a dying man.)

The majority of the action takes place in George’s hospital room, though some conversations are held in the corridor behind, amplified for our benefit and with the actors visible through the bedroom windows. This presents a slight confusion, because it isn’t made clear if these discussions can also be heard inside the room – perhaps this isn’t hugely significant given that George is always fully aware of Sonia’s romantic indifference to him, but it’s a minor frustration in an otherwise excellent production.

Cox delights in name-dropping famous writers and artists throughout as a way of reminding us that the play’s based on true events: Picasso, Dalí, Thomas Mann, Norman Mailer all get a mention. Even so, you don’t need to know much – or anything at all, really – about Orwell or his work to enjoy this very human story of love, fear and hope. Beautifully performed with warmth and humour, Mrs Orwell is a fascinating and entertaining insight into the life and death of a legend.

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: America’s Number One Detective Agency at the Drayton Arms

Published on August 4, 2017July 22, 2018 by LizLeave a comment

Written by Liv Hunterson and directed by Anna Marshall, Fatale Femme’s debut production America’s Number One Detective Agency is an enjoyably silly and suitably atmospheric – if a little more convoluted than feels strictly necessary – homage to the film noir genre.

Our heroine Vivian O’Connell (Fleur De Wit) is fighting to reclaim her crown as America’s top private detective, recently lost to her ex-boyfriend Bobby (Hamish Adams-Cairns) in a high profile case. But he gets all the best clients these days, so Vivian and her partner Joey (Siobhan Cha Cha) are reduced to helping out irritatingly perky aspiring actress Betty Channing (Alex Hinson), who seems to have acquired a stalker. Throw in a deranged gangster (Oliver David-Harrison), a dapper English gent (Iain Gibbons), and something about a gorilla(?), and the stage is set for a mystery caper that will take the gang all the way to Las Vegas. But will they all make it out alive…?

Arriving at the theatre is like stepping into an early 20th century jazz club, with a live band and singer playing in the corner while the actors lurk in the shadows, smoking and looking moody. The musical accompaniment works particularly well in maintaining the film noir atmosphere throughout the play, with singer Isabella Bassett taking on a very different role on occasion as Betty’s thuggish ex-husband, Freddie.

Under the direction of Anna Marshall, the cast of six give good individual performances but also work very well as an ensemble, keeping the action moving at a rapid pace throughout. (If anything it’s all a bit too fast – in such a complex plot where every detail counts, it’s easy to blink and miss something important.) Even when not directly involved in a scene the actors all remain on stage, either as secondary characters or as part of the set; the moment in the car is particularly well executed. I’m still not 100% sure if the problem with the door was part of the script or a set malfunction, but if it was the latter, then the cast are also to be congratulated on smoothly working around a frustrating technical glitch and turning it into a running gag.

With an even male/female split in the cast, it’s refreshing to see the women taking charge and driving the story forward, while the men are busy pining for lost lovers, cowering under tables and getting punched in the face. Fleur De Wit’s Vivian is a feisty heroine, keeping her cool despite the chaos unfolding around her, with strong support from Siobhan Cha Cha as Vivian’s trusty associate Joey, and Alex Hinson as Betty, the Hollywood starlet with hidden depths. Meanwhile the three men provide some of the best comedy moments, particularly Iain Gibbons as Teddy, who just can’t help putting himself in harm’s way whenever he feels a lady’s honour needs defending – even though the ladies are more than capable of taking care of themselves.

America’s Number One Detective Agency is good fun, particularly for fans of the film noir genre; it certainly looks and sounds the part. The plot could benefit from being a little less complex, or the pace of the production taken down just a touch so the audience can keep up with the various twists and turns (and jokes). That said, this is still a very entertaining show, and a promising debut from Fatale Femme.

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: Flood at Tristan Bates Theatre

Published on August 2, 2017January 6, 2018 by Liz1 Comment

Funny, heartwarming and a little bit damp (though not, to the bizarre disappointment of one of my friends, actually flooded), Tom Hartwell’s Flood is the first outing for newly formed Paper Creatures – and it’s fair to say they’re off to a flying start.

Set in a remote rural town, Flood is the story of Adam, who’s having a really bad day. It’s the morning of his mum’s funeral, his house is flooded, and he’s just found out his sister and best friend are having a baby (not to mention driving a Skoda), and that his ex-girlfriend’s now dating a guy who used to stab people with protractors. Anyone could be forgiven for hitting the secret whisky in those circumstances; the only problem is that Adam, like his mum before him, has been doing a bit too much of that just lately…

Though this is a story about five characters and the various directions their lives have taken, Jon Tozzi’s Adam naturally takes centre stage as the one character who stayed at home, and now becomes the focal point for their return. Effortlessly charismatic, with a dry wit and an appealing vulnerability, it’s easy to root for him despite a frustrating refusal to address his various issues. Nathan Coenen and Emily Céline Thomson are perhaps the most relatable as Jess and Michael, a young couple taking their first clumsy steps into responsible adulthood, while Molly McGeachin makes a relatively brief but highly significant appearance as Adam’s ex Laura, who may have moved on physically, but has left a little of herself behind nonetheless. Finally, you get the feeling writer Tom Hartwell might be venting a few frustrations in his role as Ben, whose six-month stay in London has apparently converted him into a vegetarian, gluten-free, green tea drinker with a posh accent, but quickly reverts to type when he returns home.

In Flood, as in his previous plays, Hartwell demonstrates a talent for zeroing in on human experiences we can all relate to, and tackling them with humour and empathy. Moving away from home, leaving behind – or being left by – friends and family, and then attempting to reignite those relationships later as different people is something almost all of us have gone through, and the play is marked by a recognisable blend of tension and nostalgia between the five old friends. Under the expert direction of Georgie Staight, it’s easy to believe the five actors really have known each other all their lives, and to get caught up in the familiar struggles that form an inevitable part of growing up.

Although much of the flood water exists only in our imaginations, the underwater theme is subtly present in the production’s design: characters who’ve been out in the rain actually look wet; dripping sound effects remind us that the waters are still rising; even the choreographed set changes include slow-mo moments where the characters appear to be floating across the stage. It’s clear that a great deal of care has gone into the production, and proves yet again that big budgets and fancy effects aren’t always necessary to create something special.

Paper Creatures’ focus is on making theatre for and about millennials; as a member of that demographic (just…) who’s still figuring out how to be a grown-up, it’s perhaps not surprising that I really related to and enjoyed Flood. It’s a shame that the play has such a short run this time, but hopefully it’s not the last we’ll see of this excellent production – and if you can get there before Saturday, it’s well worth a visit.

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: Liam Joseph, PLUTO

Published on August 1, 2017August 1, 2017 by Liz1 Comment

Liam Joseph and Callum O’Brien met when they were working Front of House together at the Harold Pinter Theatre. Now co-founders of their own company, Moonchild Theatre, this month they return to London with their acclaimed first production, PLUTO.

“PLUTO tells the story of the titular former planet during the period in which he finds out he is no longer a planet,” says Liam, who plays Pluto. “We follow his story as he battles with an identity crisis and his moon Charon tries her best to keep his spirits high. The show is an allegorical examination of LGBT issues that are still rampant in the world today.”

Liam explains that the story of PLUTO was inspired by the now notorious anti-LGBT laws passed in North Carolina last year, which required transgender people to use the restrooms that matched their birth certificate. “On the surface this would seem an unlikely source to inspire a play about the former planet Pluto,” he admits. “However, the story of a governing body dictating the personal identity of others and actively doing harm in the process, upon closer inspection, does in fact bear a remarkable similarity to that of our fallen cosmic comrade. The toilets of North Carolina have been exchanged for the constellations of the night sky. In lieu of the transgender population there is a distant planet battling with his identity.

“Although our story is not limited specifically to transgender struggles, these ongoing issues – and many like it – helped develop the themes of identity, labelling and loneliness that form the emotional crux of PLUTO. This play is a marriage of two enormous but previously unrelated themes; the LGBTQ+ experience in today’s society and the beautiful, incomprehensible mysteries of space.”

The show was last performed in April at Baron’s Court Theatre, where Millennial London called it “an impressive first production of a new play that captures many important issues in today’s world”. Now returning as part of the Camden Fringe, the show’s undergone some changes: “As we’re now performing as part of a festival run, the show had to be adapted to suit the new working environment,” explains Liam. “With strict get in and get out times, it was necessary for us to cut the run time of the play from eighty minutes to one hour. It used to be bookended by a prologue and epilogue of human characters, to bring the audience back down to earth – literally – but that’s completely gone now.

“It’s much more streamlined and serious, focusing more on the effect of labels and the issues that labels cause in society. And it also opens up a whole new level to the relationship between Pluto and Charon, the icy twins who live in the furthest reaches of the solar system. Completely removed from the solar system, one wants to escape their one-billion-year solitude and the other wants to stay in their ‘safe oasis of anxiety’. Naturally this causes catastrophic tension…”

Despite these changes in structure, the message and spirit of the piece has remained intact: “The show is generally aimed at a millennial/queer audience whose experiences we hope the show manages to capture,” says Liam. “We are a theatre company composed of relatively young individuals and so it was in our interest to create theatre that appealed to us as audience members.

“I think Callum would agree in saying it’s a fable for the millennial; understand that this story is happening now in London as we speak. So many young millennials struggle with being labelled something by ‘words on a page’ and it affects them deeply. We can all do something by accepting each other for who we are: human beings. Simple as that.”

The foundation of Moonchild Theatre came about when the two friends and colleagues realised they’d rather be on the stage than in front of it. “I wanted to be on stage so I asked Callum to write me a play – that’s it!” says Liam. “Over time, we’ve seen PLUTO and ultimately our ethos grow and change, but our aim is to create ‘Now Theatre’, dealing with issues that society’s happy to brush under the rug. We don’t want to solve them, we want people to be aware of them and be able to engage and debate these issues.

“The whole process has been a huge surprise. We only wanted to put a play on and now it’s turned into a successful theatre company with fans and regulars. We were surprised about how many people wanted to see PLUTO at the Baron’s Court and how well it was received by the reviewers.

“All in all, to be able to perform at the King’s Head Theatre, the most prestigious gay theatre in the world, and The Cockpit this summer, we’ve done and achieved a lot more than we’d ever hoped for. The future is ours!”

See PLUTO tonight (1st August) at the King’s Head Theatre or book for the Cockpit Theatre from 14th-17th August.

Interview: Ashley Winter and Christopher Montague, Skin Deep

Published on July 31, 2017 by Liz1 Comment

Attila Theatre’s Skin Deep was first performed last year at the London Horror Festival, where the festival’s patron Nicholas Vince commented, “This is physical ensemble theatre in its purest form and will haunt me for days.” This week, Attila bring their gruesome true story to the Camden Fringe, opening tonight at the Lion and Unicorn.

“Skin Deep is the origin story of real-life historical figure Erzsébet Báthory – branded the world’s most prolific female serial killer,” says Ashley Winter, who plays her. “We explore her childhood, marriage to soldier Ferenc Nadasdy, and the events that led to her very first murder. It’s also a love story between Erzsebet and her handmaid Lucie.”

The show is an obvious must for horror fans, “but also fans of ensemble theatre, feminist theatre, physical theatre…” says Ashley.

“All the above, but especially female theatre makers,” agrees director Christopher Montague. “We may have stumbled upon an iconic female character from history, so underrepresented and interesting that people will want to explore her life for years to come. Ashley plays her brilliantly, and it is a very desireable role in my eyes; hopefully in twenty years’ time we’ll be talking about the character Báthory in the same way we talk about Richard III.

“We’ve slapped a 14+ recommendation on the play, purely because of foul language and violent imagery – we don’t want to warp any young minds. That will happen without our input. The play is nowhere near as gruesome as it could’ve been, so even if you’re a bit squeamish, you’ll be fine!”

Ashley’s hoping audiences will come away as obsessed with Báthory as she is: “I think the most interesting thing about her is that her actual real-life existence is so removed from the image of the sexy, vampish killer that pop culture has bestowed upon her. She’s been appropriated by the goth community as this macabre pin-up, but we really have no way of knowing what she was like, what motivated her, what she wanted from life.

“I think it’s important to look at how history represents those in the past; Erzsébet’s name was considered a curse word for 100 years after she died – but her husband Ferenc, ‘The Black Knight’, is still considered to be a national hero in Hungary, despite being known for his horrendous and brutal torture of Turks in the Ottoman war. Gender inequality presents itself in many ways and Erzsébet Báthory – the most famous woman of her time – has not escaped it. We wanted to present an Erzsébet that was a product of the brutal time in which she existed, but try to steer clear of culturally presented clichés about ‘dangerous women’.”

The first version of the show, produced in late 2016 for the London Horror Festival, was developed in just three weeks. Since then it’s changed quite dramatically: “We brought director Ailin Conant on board, whose experience working in physical theatre, mask and puppetry helped us develop the physical language and the multiple ‘worlds’ of the play,” explains Ashley. “We’ve introduced a chorus of maids to the piece too, who are present on stage most of the time; you get to see much more of the immense dichotomy between the rich and poor of the time. Erzsébet’s story has become more about the struggle to break free from societal constraints relating to gender and social status.”

“The show is a little less sensationalist this time around,” adds Christopher. “Last year, performing the show on Halloween weekend and with little time to really explore the story we wanted to tell, we opted for a version of the show that was overall darker, included more torture and more blood. Don’t worry gore-fans, there’s still a fair bit, but in the interests of creating a dramatic story arc, we’ve focused more on the character’s relationships and making them all fully developed, rather than just victims.

“Also, I no longer perform in the show as ‘Percy’ the pigkeeper boy, much to many people’s dismay. It was decided my skills could be used elsewhere.”

So why should people come and see Skin Deep? “Because we worked really hard on it?” suggests Christopher. “Brush away the Edinburgh blues and see some of the amazing work that’s right on your doorstep at the Camden Fringe!”

Ashley expands, “Firstly, it will defy expectations about who Báthory was. We have an amazing female-heavy cast who have incredible energy and passion for the show. The music is totally brilliant – designed by the talented Ross Kernahan – and gives the whole show this creeping tension that builds to a furious ending. It’s surprisingly funny too! It’s a fast-paced physical show with really taut dialogue, so if you’re not into stuffy history plays then it’s definitely for you.”

“I’d love for audiences to see something of a contemporary ‘history’ play,” adds Christopher. “A lot of plays you see that explore historical figures tend to include large monologues and elaborate set design that mirror the time of their life – whereas being an emerging company with training in ensemble theatre, our instincts led us to this stripped back design, which allows us to fully utilise the large cast and their talents. Plays about history don’t have to simply be biopics. We’ve definitely taken liberty with the truth at times, but always in the interest of making a better show. Hopefully audiences will forgive us for that!”

Ashley and Christopher started Attila Theatre after graduating from the University of Reading. “We didn’t start with any aims, other than to start making our own work and see what naturally came out of that,” Ashley explains. “We’ve discovered that we’re interested in telling stories about women in traditionally male realms. We’re very much inspired by companies like Told by an Idiot – irreverent, funny, daring and devised!”

“After making a few shows and having a decent network of friends with theatre companies in London, my main goal is to stay in amongst these people and keep making work,” says Christopher. “Sounds simple, but there’s a huge amount to be said for companies like us being ‘in the same boat’ as all the others who are struggling to get funding, working two jobs alongside rehearsals etc. The knowledge that we’re all still doing it despite the difficulties, for me, is a testament to the artists who make the work and the support they provide each other.”

Skin Deep opens at the Lion and Unicorn on 31st July and runs until 6th August.