Quick Q&A: Different Sand & Willow Double Bill

Where and when: The Bunker Theatre, 8th, 9th, 15th and 16th September

What it’s all about… Lemon House Theatre are opening up The Bunker’s B-Sides season with their double bill of Different Sand and Willow.

Different Sand follows British-Algerian sisters Amira and Linda, who live day-in-day out in their dingy North-London flat, whilst trying to match the needs of their Algerian father.

When Amira decides it’s time for her to get married, the sisters battle over what’s going to happen next, and who they really are.

This modern family drama discusses what it means to come from two cultures and, ultimately, what it means to be sisters.

Willow sees Gabi take to the stage, who is 100% sure she knows why she and her girlfriend Lottie broke up. Or 70% sure. Maybe 50%. Can she show it to you? The best parts, the parts she still doesn’t understand, and the parts she’s still trying to get over.

But is it possible to tell your own story, and tell it honestly? Especially when your ex-girlfriend is sharing the stage with you.

In Willow, Gabi and Lottie explore the fault lines in their relationship, and their (very) different views on the fallout, looking at how being truthful and certain aren’t always the same thing.

You’ll like it if… you want some escapism and a laugh!

You should see it because… Different Sand is being staged by an all-female, Algerian team and Willow by an all-female, queer team – it’s important to support these voices on stage.

Anything else we should know…: A single ticket for Different Sand or Willow is £10, but a double bill ticket to see both is £15.

Where to follow:
Twitter: @lemonhousetc
Facebook: @lemonhousetheatre
Instagram: @lemonhousetheatre

Book here: https://www.bunkertheatre.com/whats-on/different-sand

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Review: The Strange Case of Jekyll and Hyde at Brockley Jack Studio Theatre

Question: How do you turn a Victorian gothic novella into a gripping 21st century political thriller? Answer: get Arrows & Traps involved.

Taking Robert Louis Stevenson’s classic story and its themes as a starting point, writer and director Ross McGregor has created something completely original, a dark, twisty horror story that becomes all the more terrifying for its proximity to real life. This is still recognisably Jekyll and Hyde, but it’s also a whole new story about school shootings, white privilege and political scandal that could have been lifted from today’s headlines.

Photo credit: Davor Tovarlaza @The Ocular Creative

Henry Jekyll (Will Pinchin) is a young, idealistic presidential candidate running in the 2020 U.S. election. With Trump impeached and awaiting trial, the nation is bitterly divided, and Jekyll wants to be the man to heal its wounds. When troubled freelance journalist Gabrielle Utterson (Lucy Ioannou) joins his campaign, she grows suspicious about his connection to violent criminal Edward Hyde (Christopher Tester). With the help of sex worker Imogen Poole (Gabrielle Nellis-Pain) and scientist Hayley Lanyon (Charlie Ryall), she sets out to uncover the shocking truth.

One of the most impressive aspects of this production is that despite re-telling a well-known story, it still holds plenty of surprises. It’s hardly a spoiler to reveal that Jekyll and Hyde turn out to be the same person – that’s pretty much common knowledge, even if you haven’t read the book. But the way that twist is set up here is so clever that it feels like we’re discovering it for the first time, and there’s a delicious “Oh!” moment in Act 2 as all the pieces suddenly fit together.

As brilliant as the writing is, it’s easily matched by the standard of the performances, which are universally flawless. Will Pinchin gives a masterclass in physicality, convincingly capturing every nuance of each of Jekyll’s very different personas – public and private, good and evil. For a politician, what is said is so often less important than how it’s said, and as a popular, charismatic on-screen personality, Pinchin gets the delivery exactly right.

Equally outstanding is Lucy Ioannou, who plays Gabrielle Utterson with a stunning, haunted intensity from which it’s almost impossible to look away. We don’t need to be told that she’s battling her own demons; it’s all there in her eyes and posture from the moment the play begins. In contrast, Gabrielle Nellis-Pain radiates warmth and openness as Imogen Poole, who becomes Utterson’s confidante. Her early monologue, in which she recalls with undisguised emotion Hyde’s unprovoked attack on a young girl, is instantly captivating, and just as Utterson looks to her repeatedly for comfort, after a while so do we.

Photo credit: Davor Tovarlaza @The Ocular Creative

As this is an Arrows & Traps production, it should come as no surprise to anyone that it also looks amazing. The use of video screens is a particularly clever touch, a physical obstacle between the audience and the characters to show how technology can distort the truth. The lighting design from Anna Reddyhoff is superb, as are Bryony J. Thompson’s costumes, each of which perfectly captures the personality of the character wearing it.

It’s always a sign of a good play when you wake up the next morning still thinking about it, and this one gives us more than enough to dwell on for several days. So much about the world we live in today is built on choosing a side, and then being prepared to defend that side against all argument. Democrat or Republican, Leave or Remain, pro- or anti-guns… We’re growing more and more incapable of compromise or finding middle ground on any subject, and that division is driving good people into dark places. This – not Brexit, or Trump, or any of the other issues that we see in the headlines every day – is the real crisis, and to sum it up as eloquently as this play does is an outstanding achievement. It’s Jekyll and Hyde for a new generation: an endlessly thought-provoking, unsettling, enthralling production that’s not to be missed.

The Strange Case of Jekyll and Hyde is at the Brockley Jack Studio Theatre until 28th September, then touring – see arrowsandtraps.com for details.

Review: Macbeth the Musical at White Bear Theatre

If you’ve ever watched a production of Macbeth and thought the protagonist seemed like a bit of a muppet, then Stage Splinters’ irreverent new adaptation of the famous tragedy is the show for you. Leaving Shakespeare’s verse well and truly at the door, this musical adaptation performed by puppets playfully pokes fun at both the play and its characters, with the murderous monarch taking the brunt of the humour.

Photo credit: Kevin Kamara

Following an unsettling encounter with three flirtatious witches called Agnes, Breanna and Madison, Macbeth heads home to his wife, who promptly bullies her spineless spouse into murdering the nice old king. Several fumbling attempts later, Duncan’s finally dispatched, and the Macbeths turn their attention to the loyal Banquo and an unexpectedly repellent Macduff – which would all be fine if their intended victims didn’t keep escaping. Elliot Moore and Eloise Jones make a hilarious double act as the enthusiastic but incompetent killers, with performances so expressive and engaging that it’s easy to find yourself watching them rather than the (albeit expertly handled) puppets.

The discarding of the majority of Shakespeare’s original text allows writers Chuma Emembolu and Ruth Nicolas to tell the well-known story from a fresh perspective. John, Rose and Conleth are servants in Macbeth’s household, who witness, discuss and occasionally participate in their bosses’ bloody goings on. At the same time, they put the Macbeths’ problems well and truly into perspective by sharing their own harrowing life stories: John has a bit of a drinking problem and only narrowly escapes having Duncan’s murder pinned on him as a result; Rose was sold into servitude by her father; and Conleth is a former soldier with a traumatic past.

Photo credit: Kevin Kamara

The result of all this is a curious mix: a laugh out loud comedy (the Duncan murder scene is particularly fun, as is Macbeth’s death) punctuated by some really dark moments, which are not only not at all funny but also have a tendency to happen very suddenly, and then be over with just as quickly, leaving the audience feeling slightly off balance. Both Bryony Reynolds (Rose) and Red Picasso (Conleth) give excellent performances in unexpectedly complex roles, and it’s frustrating that having worked hard to establish them as major characters, the show doesn’t then tell us how their stories end.

Having said that, Macbeth the Musical is still a very funny, very silly evening of tongue-in-cheek comedy, which you don’t have to be a Shakespeare scholar to appreciate (though if you are one, you’ll undoubtedly enjoy the countless in-jokes levelled at the source text and its gaping plot holes). The cast are impeccable, the songs are witty and enjoyable, and the puppets are great. Who knew murder could be this much fun?

Macbeth the Musical is at the White Bear Theatre until 7th September.

What Happens Next Will __ Your __: Q&A with My Mate Monster

Following a two-night run at the White Bear’s recent New Writing festival,  My Mate Monster – a.k.a. Ryan Whittle and Chris McCurry – return to the theatre next week with an encore of their debut show, What Happens Next Will __ Your __. A darkly humorous two-hander inspired by the rising (and apparently, enduring) trend of shaming strangers on the internet, the play proved a hit last month with audiences – and Theatre Things quite liked it too.

Before the show’s welcome return to the White Bear, we chatted to Ryan and Chris to find out more about the show’s journey so far, their plans for the future, and exactly what a monster’s got to do with anything…

Can you tell us briefly what the show is about?

It’s about two strangers, Alex and Darren, who become trapped on the roof of an apartment building. Darren is an incessant chatterer and when he lets slip a few pretty crazy and offensive views, Alex begins to expose him by live tweeting his torturous experience. As the responses roll in and outrage grows, things escalate from there.

We told a guy once it’s basically “Planes, Trains and Automobiles meets Black Mirror”, and he went “Brilliant. I like both of those things.” So, yeah. In a nutshell it’s that. On a roof.

Where did the inspiration come from?

We were approaching our final assessments at Royal Welsh College and basically had to write a play. Chris picked up a Jon Ronson book called So You’ve Been Publicly Shamed at the airport on the way back to Cardiff. It was fascinating with tons and tons of stories about people who’d had their lives completely ruined by being shamed online. So we knew we wanted to do something about that!

Then Ryan found a news story about a guy who was tweeting horrible things about a woman he was on a flight with and it transpired that she followed him. That gave us a great structure right there (minus the airplane… would have been a bit tricky that), so we just went into a room and messed about until it was done!

What do you hope audiences will take away from seeing it?

Basically we want them to have a great time… and then feel really horrible and guilty and then just to be a bit shocked and go “Oh dear” and feel a bit sick.

Apart from that… just to see themselves in the characters. We both work in bars and regularly come into contact with people a lot like Darren, who don’t seem to realise you don’t have time for a chat and they just plough on. London can be an incredibly lonely place at times. It’s something we all have felt here and these two guys definitely are very similar in that way. It’s very easy just to see people as moving obstacles and massive pains in the arse rather than understand them.

If all that doesn’t register and they just go “That silly guy was funny” then that’s absolutely 100% fine too.

What’s been the show’s journey so far?

We wrote it in 2015 and performed it at RWCMD. We basically did the whole thing blank page to stage in 4/5 weeks and had the most amazing time doing it. It was honestly one of the best experiences we’ve both had on stage and it was received really well.

After college we both got parts in different things and never really had a chance to re-stage it. We were worried that social media shaming would become less of a cultural thing than it was but thankfully people just kept on annihilating each on the internet!

At the start of this year we both had a bit of time to revisit it and just set a target for getting it on by the end of the summer. Then the White Bear advertised their New Writing Festival, we fired the script off and got in! It’s been so nice revisiting it and that people enjoyed it so much they’ve invited us back.

How long have the two of you known each other, and how did My Mate Monster come about?

About 4 years. We were both training together and decided to work on a final assessment as a pair and that’s what led to the show. When we started getting serious about grabbing opportunities to get the show on elsewhere we decided to form our own company.

As for the name… there was a guy of about 20 who lived round the corner from Chris when he was 7-8 who was 6’10 with a shaved head and his mates (in the nicest way possible) called him ‘Monster.’ Somehow that huge man found his way into the play as an unseen acquaintance of Darren’s. It’s a favourite line of ours so, yeah, ‘My Mate Monster’. Legally, we probably owe him money or something now.

What are your plans for the show and the company in the future?

We’ve been in touch with different festivals and venues. Basically we just want to get the show out there and seen by as many people as possible.

We’ve got an idea for another show that we’ll start working on when we’ve had a wee break after this. It’d be great to do a double bill feature, What Happens Next… then an interval and then a second completely different hour long play featuring the two of us as totally different characters.

Surely the dream is just to sit and talk to your mate about silly experiences you’ve had or things you’re interested in or that are bothering you and then go and make them into something. How good is that?

Book now for What Happens Next Will __ Your __ at the White Bear Theatre, 9th-11th September.

Written and performed by Ryan Whittle and Chris McCurry

Quick Q&A: In and Out of Chekhov’s Shorts

Where and when: Greenwich Theatre, 12th-14th September then 4 week national tour

What it’s all about… Taking Chekhov out of the normal stuffy drawing room setting, this is a play consisting of five short tales delivered by a band of travelling gypsies with live music as an integral part of the action. Making the most of the humour, pathos and oddity that is Chekhov!

You’ll like it if… you like to laugh, you like classical theatre with an innovative twist, you like Chekhov, you love music or you enjoy a story well told.

You should see it because… it will make you laugh and cry and keep you thoroughly entertained. These brilliantly observed stories are delivered by a group of five talented actor musicians who will keep you on the edge of your seat all evening. The show is accompanied with a thorough education pack for those who want to know more about Chekhov or for school parties.

Where to follow:
Twitter: @Dragonboyprod
Facebook: @eliotdragonboyproductions
#inandoutofchekhovsshorts

Book here: www.dragonboyproductions.com

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