Theatre Things

Review: The Wolves of Willoughby Chase at Brockley Jack Studio Theatre

Published on December 21, 2017January 6, 2018 by LizLeave a comment

The Jack Studio is bringing 2017 to a suitably wintry close with their production of Joan Aiken’s classic children’s novel The Wolves of Willoughby Chase, adapted by Russ Tunney and directed by Kate Bannister. The story of two plucky young girls taking on their villainous governess, this thrilling adventure is presented with tongue firmly in cheek, and is all the more enjoyable for it.

When Bonnie Green’s wealthy parents leave for a long sea voyage, she and her orphaned cousin Sylvia are left in the care of their new governess, the sinister Miss Slighcarp. Aided by a mysterious stranger Sylvia encountered on the train to Willoughby Chase, it’s not long before Miss Slighcarp has set in motion a dastardly plot to steal the Willoughby home and fortune. But her two young charges are not so easily defeated, and fight back with help of their own from an eccentric assortment of characters, some secret passages – and a couple of geese.

The wolves of the title, meanwhile, are noticeably absent; we are, however, pointedly informed that they came from Eastern Europe, through the newly constructed Channel Tunnel, and have taken over the English countryside. Despite this, their menacing presence is always more of an implied than an actual threat – we only actually see the wolves once in the whole play, though they’re often mentioned – while, as it turns out, the greater danger comes from within.

The production is spookily atmospheric throughout, thanks to excellent work from designers Karl Swinyard (set), Ben Jacobs (light) and Jack Barton (sound). Despite a dramatic opening, however, within minutes it’s become clear that this is not a show we’re supposed to take terribly seriously. Largely, this is thanks to the casting of Adam Elliott as the deliciously wicked Miss Slighcarp (among several other roles). With a permanent sneer of disdain and absolutely no redeeming features whatsoever, she’s a proper villain we can really love to hate, along with her comically absurd partners in crime Mr Grimshaw and Mrs Brisket, both played – again, among several others – by Bryan Pilkington. It’s all a little bit panto (there’s even a bit of audience participation), especially towards the end as events grow increasingly chaotic, but that just adds to the fun. And it is Christmas, after all.

As often happens in panto, the good guys inevitably end up playing it a little straight next to their larger-than-life adversaries. That said, Rebecca Rayne as Bonnie, Julia Pagett as Sylvia and Andrew Hollingworth, who plays footman James and the girls’ friend Simon, are likeable, intrepid heroes, each of whom grows and matures as the story progresses. They’re also not without a mischievous twinkle of their own from time to time; I particularly enjoyed the two girls “skating” – and who can forget the cheese alphabet…

The show is an intriguing mix of classic children’s tale, spooky mystery and laugh-out-loud comedy – the sort of combination that sounds like it shouldn’t be possible but somehow works really well. There’s certainly never a dull moment, and it’s always fun as an audience member to see a cast who are not only talented performers but are also clearly having a great time themselves. If you’re expecting to see wolves, you may be a bit disappointed – but otherwise this is a show that delivers on every level.

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: Macbeeth at The Hen and Chickens

Published on December 16, 2017July 22, 2018 by LizLeave a comment

Red Squash Theatre’s Macbeeth is, as the title suggests, Macbeth – just not quite as we know it. In keeping (for the most part) with Shakespeare’s intended plot, the play is still as murdery as ever; the difference is in this version there are a lot more laughs, along with a distinctly North American sounding Macbeth, a very questionable beard, and a man called Derek. Oh, and there are just three actors playing – well, everyone.

As you might expect, it’s all extremely silly (in fact, a voiceover before the show warns us of “interpretations of Shakespeare some audience members may find infantile”) and more than a little chaotic – but before any Shakespeare scholars runs for the hills in horror, a word of reassurance: the three actors all clearly not only know what they’re doing, but do it very well. Though heavily edited to fit the whole story into just an hour, all the essentials of the script are there and delivered flawlessly by Rory Fairbairn (who plays all the witches, Duncan and Macduff among a multitude of roles), Holly McFarlane (Banquo, Lady Macbeth, Malcolm and more) and Alexander Tol (Macbeth, Fleance and others). It might be Shakespeare lite, but it’s very much still Shakespeare; the comedy aspect comes not from changing the story but from taking to extremes what’s already there.

This includes the characters – Holly McFarlane and Alexander Tol as the Macbeths in particular take their roles of bossy wife and cowed husband extremely seriously, and Rory Fairbairn’s kindly but blissfully oblivious King Duncan is also a hit – as well as the story itself, which is, after all, essentially one long killing spree based on the word of three strange women in the woods. But the majority of the humour springs from the production itself, which plays throughout on the multi-roling of actors, and the rudimentary set and props they have to work with (the appearance of dead Banquo at Macbeth’s feast is particularly creative). There are also a few jokes at the expense of the actors, which, Macbeth’s accent aside, aren’t really borne out in their very able performances – but this is a small quibble and certainly doesn’t mar the play’s unstoppable entertainment value.

If you’ve ever felt Shakespeare was a bit heavy, Macbeeth may well change your mind. While it undoubtedly includes some elements the play’s writer might have regarded with some suspicion (hello, magic eight ball) its heart is in the right place and the production still delivers on its promise of “95% actual Shakespeare”. Most importantly, it’s also great fun, bringing us organised chaos that doesn’t outstay its welcome and allowing its cast to showcase their talents for both comedy and tragedy. Highly recommended for an enjoyably silly night out.

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: FCUK’D at The Bunker Theatre

Published on December 14, 2017January 6, 2018 by LizLeave a comment

There’s a particularly poignant moment in Niall Ransome’s FCUK’D, in which two frightened boys huddle together under a railway bridge in the freezing cold, while above them commuters are absorbed in their phones and Christmas revellers make their merry way home, all of them oblivious to the children who need their help just yards away.

While this image has plenty to say about our society and way of life, it’s also a pretty good metaphor for the show itself. While other theatres opt for the crowd-pleasing spectacle of panto, not far away The Bunker is quietly doing something very different to mark the festive season – reminding us along the way that not everyone is celebrating just because it’s Christmas. FCUK’D is a simple, understated yet incredibly hard-hitting one-man show about seventeen-year-old Boy and his little brother Matty. Having been abandoned by their father and neglected by their mother, Boy lives every day in terror of Matty – the person he cares about more than anyone else in the world – being taken away. And he’s willing to do anything, even go on the run, to prevent that from happening.

However touching Boy’s motivation, when it inevitably happens the two brothers’ flight always seems like a doomed enterprise. Boy is, by his own admission, rash and immature; he has no idea what he’s doing and is clearly as terrified as his confused little brother. Driven by desperation and fear, the pair have no money, shelter or transport and are forced to take increasingly extreme measures to survive in the freezing December temperatures. Their devotion to each other is such that we want them to make it, and yet we have to acknowledge their situation is unsustainable, and to question if this really is the way to give Matty his best chance – even if the alternative is a system that isn’t doing enough to help young people in trouble until it’s too late.

Will Mytum gives an utterly compelling solo performance as both Boy and Matty (he even has a convincing play-fight with himself at one point). Delivering Niall Ransome’s rhyming verse in a way that highlights the poetry but still sounds completely natural, Mytum has all the swagger and false confidence of any teenager, but with a haunted expression that reveals the self-loathing and insecurity lurking not far beneath the surface. Then, all of a sudden, it’s like a switch is thrown as he transforms into Matty and we see all the fear and doubt fall away. Matty is adorable – innocent, inquisitive, and with such absolute faith in his big brother that he’ll follow him anywhere, no matter what it might cost.

The rest of the production, which is also directed by Niall Ransome, is similarly understated, with effects that – unlike in many festive shows – support the central performance without trying to be the main focus. Peter Wilson’s ominous score helps to build the tension, while the set by Grace Venning captures the harsh urban environment of Boy and Matty’s world. And Jess Bernberg’s brilliantly effective lighting combines with Ransome’s words to show us things we can’t see, like the flickering orange of a flame, or the blue lights of an approaching police car.

FCUK’D is not your typical Christmas show, but that’s not a bad thing; pantos are always good festive fun, but they’re also about as far from the real world as it’s possible to get. At this time of year perhaps more than any other, when we can get so absorbed by shopping, wrapping, cooking and partying, a shot of reality – however sobering – might be just what’s needed.

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: Matthew Seager, Bobblehat Festival

Published on December 9, 2017 by LizLeave a comment

With Christmas now just a couple of weeks away, it’s fair to say the holiday season is well and truly upon us. And this year there’s a special festive surprise (or 24 of them, to be more accurate) lying in wait around Wimbledon, courtesy of the team at Bobblehat. But what’s it all about, and why should we be excited?

“Bobblehat is London’s first live advent calendar,” explains Creative Producer Matthew Seager. “Every day from 1st to 24th December a different door opens somewhere in the Wimbledon area, and an exciting event takes place. We’ve got poetry, theatre, music, dance, comedy and much more. 24 events, 24 days, 24 locations… what’s not to be excited about! Oh, and it’s all FREE…”

Bobblehat is the first project for William Alder Productions, which was founded in 2016 to create new experiences for audiences by putting on exciting events in unusual places. “Will is the Artistic Director, running the event with me and General Manager Sam Griffiths,” says Matthew. “Will worked on a similar event in Winchester back in 2015, although we think the idea of the advent festival originated in Stockholm.

“Both producers are born and brought up in Wimbledon, so it seemed to make sense to launch here. This festival is all about great events in unexpected places, so I think it takes a pretty in depth understanding of the layout and location of the town to really match the right act with the right location.”

With so many different locations to organise, the team first had to secure support from the local business community. Fortunately, that didn’t prove to be a problem: “The response has been overwhelmingly positive,” says Matthew. “Firstly, the festival would most definitely not have gone ahead without the sponsorship and all round support of Love Wimbledon, who are just brilliant. In general, when seeking support from a local business, the most successful approach is just to be passionate about the event and the town. These people own a business in Wimbledon so, in general, it we’re able to get them excited about this then they are happy to support.”

Matthew and the team have particularly loved the challenge of putting together the month-long programme: “I think that’s one of my favourite parts. We’re in a position to contact artists we already have a relationship with, as well as get in contact with artists we’ve always admired and wanted to work with. Also it’s an opportunity to go to Edinburgh and see lots of shows all over the UK in search of a truly varied programme.”

With the festival now nine days in, there have already been plenty of highlights – and Matthew assures us there are plenty more to look forward to. “They’re all my favourites! They really balance each other out, which is important. We opened with award-winning Shakespeare company The HandleBards in the lower car park of Centre Court shopping centre, we’ve had a silent disco guided tour and an interactive musical family show where you colour in your favourite Christmas meal.

“Coming up we’ve got sketch comedy double act Goodbear on the 14th, who sold out at the Soho Theatre recently. I’m really excited about Extempore theatre – of Showstopper! The Improvised Musical in the West End – with their two-hander Rhapsodes on the 20th, Lead Suspect, a dog murder mystery, on the 21st, and internationally award-winning Soprano Louise Alder on the 23rd. But they are alllll brilliant and there’s definitely something for everyone.”

Attending a Bobblehat event is easy – and if you’re out and about in Wimbledon you might even find yourself turning up to one by accident… “You can’t book tickets, you just turn up to the door that is advertised on our website or social media,” explains Matthew. “It will open at either 4pm or 7pm, and away we go. There will be a sign outside and we’ve definitely had people stumble upon events whilst out and about. I wasn’t sure how that would work going into this, but it’s wonderful to attract both groups of people who have researched the event as well as those who just happen to be around.”

Check out the Bobblehat website or follow @wearebobblehat to see what’s coming up. All events are free to attend.

Review: Guys and Dolls at Royal Exchange Theatre

Published on December 7, 2017 by LizLeave a comment

Guest review by Aleks Anders

The Royal Exchange Company develops its ongoing collaboration with all-black theatre company Talawa for this, their latest offering, the Broadway musical Guys and Dolls.

With a book by Jo Swerling and Abe Burrows, and music and lyrics by Frank Loesser, we are well and truly in the golden age of Broadway musicals. In other words, an age when musicals were perhaps a little more fanciful and comedic than some of today’s through-sung rock opera musicals are. This one is no exception, and traditionally set in Times Square, it is a mickey take of persons perhaps real or imagined that peopled that neighbourhood at that time, based on the Damon Runyon stories of 1930s New York.

If you have never seen Guys and Dolls before, then the story follows two would-be couples. Two of the area’s most notorious gamblers, Nathan Detroit and Sky Masterson, finally get hitched (to Adelaide and Sarah respectively). It is a comedy love story set in this Noir-esque underbelly of NYC.

This version saw the action shift to Harlem, New York’s black neighbourhood, and the directing (Michael Buffong) and feel of the show was much more real and much darker than I have ever seen it before. It suited the cast, as they played their characters with much more truth and realism than the normal mono-dimensional musical theatre caricatures, and the interpretations of some of the leads was totally different from any other time I have seen this show.

Musically too, the orchestra (led by Mark Aspinall) was given leeway to jazz-up many of the songs, giving them much more authenticity in the new setting of the show.

Overall this idea worked and worked well, but it was flawed. I didn’t like the new song that Adelaide sung in the night club in act one – I had never heard that in a theatre performance before, and only realised later that it came from the film; and her very serious and heart-wrenching rendition of her lament was pitched wrongly, finding no comedy in there at all, and with absolutely no hint of her actually having a cold either before it or during it.

There were several other things too which didn’t quite sit right with me, but I’ll just put those down to personal choice, and leave it at that.

If you have never seen the show before, then you will absolutely love this re-working, and not have anything with which to compare it. Myself, I had mixed reactions to it, but overall did enjoy it immensely, especially Kenrick Sandy’s choreography to Luck Be A Lady and the showstopper Sit Down You’re Rocking The Boat.

Ray Fearon is a very likeable Nathan Detroit, and he plays his role with charm and ease, whilst the object of his desires, Adelaide, played here by Lucy Vandi, to whom he has been engaged for 12 years, is given a completely new make-over and the strong, sassy side of this new characterisation really did not work at all. Couple number two came in the form of a more nervous and less confident Sky Masterson than I have previously seen, but this suited actor Ashley Zhangazha well, and was the perfect foil for the more tight-lipped and upright Sarah Brown, played wonderfully by Abiona Omonua.

It is clear that this is a musical however, and so vocally one would expect it to be superb. Sadly it wasn’t. Undeniably all the cast could sing but it felt weak in places and the voices seemed much more at home with the bluesy, jazzy, crooning style, instead of Broadway musical numbers. They were also drowned out too a couple of times by the orchestrations.

Happily, my favourite song in the show was sung superbly and so a special mention should be given to Trevor Toussaint, who plays the often understated part of Abernathy excellently.

Guys and Dolls is not perhaps the sure-fire hit that the Royal Exchange were hoping for, but an all black version, as far as I can tell, is a UK first, and it certainly makes it a most interesting and unusual show. There is certainly much to like and enjoy within it, and the cast play it for all its worth with truth and sincerity, which reaps dividends, but running at 2 hours 50 minutes (with interval) it is a little too long.

Guys and Dolls is at the Royal Exchange Theatre until 27th January.