Tag: London

Interview: Elliot Clay, The State of Things

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The State of Things is a new British musical, written by The AC Group’s artistic directors Elliot Clay and Thomas Attwood. Inspired by their own schooldays nostalgia and the current political situation, it’s the story of a high school band who find out the school is being forced to cut its music course. The show follows the young people’s fight to save their course, as they learn to live and love in austerity Britain.

“Myself and Thomas – the show’s book writer and director – grew up together, so The State of Things is semi-autobiographical, based on our own experiences and encounters with austerity both at school and at home,” explains Elliot. “Arts funding, both in schools and in general, seems to be falling every day the current government is in power. I’ve had people contacting me on Twitter, some of them music teachers, expressing their dismay at the effects of austerity on funding in schools, particularly in creative subjects.

“It’s also a musical about young people in the north, written by young people from the north – it’s these stories that need to be voiced. I hope that the story we tell will, at the very least, open up a discussion with members of our audience, no matter where they sit on the political spectrum. Theatre alone can’t change the world, but it can affect the way people think, talk and vote.”

As composer and lyricist, Elliot’s been enjoying the chance to work with different musical styles: “In terms of musical inspiration, it was a chance to write in styles that you usually wouldn’t find work in a musical. Because all the songs in the show are the songs that the ‘band’ have written, it allowed me to draw on inspiration from The Rolling Stones, Adele, The Beatles, Coldplay, and of course put in some crazy guitar solos!”

Following The AC Group’s acclaimed productions of Macbeth and Side By Side By Sondheim, the company are looking forward – with a little trepidation – to returning to the Brockley Jack Studio Theatre, this time with an original piece: “In the words of Stephen Sondheim – ‘excited and scared’!” admits Elliot. “It’s a real privilege to shape every artistic detail of the production, but we couldn’t do it without the brilliance of our creative team and cast.

“I’m incredibly lucky to be working with a supremely talented cast of young actors, all of whom play multiple instruments live on stage every night. It’s such a joy telling this story and sharing the stage with them.”

Surprisingly, the show has only been in development for three months. “Kate Bannister, the artistic director of the Jack Studio let us know in May that there was potentially a free slot for a production in September, and we instantly knew we wanted to write and stage The State of Things,” says Elliot. “Since then the ensuing three months have been a wonderful, crazy and thrilling blur.”

The AC Group was founded by Elliot and Thomas in 2014, when they staged a sell-out musical theatre concert in Covent Garden, with a cast and orchestra of over 50. “Since then we’ve been lucky enough to stage revivals such as the 40th anniversary production of Side By Side By Sondheim at the Jack Studio and Theatre Royal Drury Lane, and Macbeth, which was nominated for 2 off-West End awards – alongside developing our new writing. It’s been an exciting journey so far and we’d love to see you at the premiere of The State of Things.”

Book now for The State of Things at the Brockley Jack Studio Theatre from 7th-23rd September.

Review: Richard III at Temple Church

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Antic Disposition certainly know how to make a good first impression. Temple Church, their home for the next two weeks, is another majestic, beautiful and powerfully historic setting for the company’s production of Shakespeare’s Richard III – and brings to an end their most recent tour of some of the UK’s most stunning cathedrals.

Fortunately, the awe-inspiring venue is more than matched by the quality of the show, which is utterly absorbing from start to finish. Based on the probably completely untrue history of Richard, Duke of Gloucester, the play recounts his bloody path to the throne as he gradually eliminates every other heir in his way, before being defeated at Bosworth Field by the future King Henry VII.

This modern interpretation reimagines the royal family and their entourage as well-heeled city types, and even without the little topical details – which include a comedy mayor called Boris, and a competitive handshake Donald Trump would be proud of – the point being made is clear. Our leaders may no longer send each other to the executioner’s block, but the ruthlessness of those who seek power for their own ends is just as dangerous today as it was 500 years ago.

At the head of a fantastic cast is Toby Manley as the murderous monarch, in a performance so charming that it’s easy to see how he keeps getting his way. Watching him, I couldn’t help but be reminded of Andrew Scott’s Moriarty in Sherlock; he plays his part so well that you can forget how evil he actually is – if not for the occasional furious outbursts that expose the crazed ambition lurking within. And in case that doesn’t do the job, a glance down the aisle reveals a silent army of vengeful ghosts, as each of Richard’s victims rises from the grave to take his or her place and wait for an opportunity to have their revenge.

This simple yet powerfully effective device from directors Ben Horslen and John Risebero not only helps keep track of the rising body count, but also contributes to the play’s sense of impending doom as we build towards a spine-tingling climax. And they’re not alone, as Louise Templeton’s Queen Margaret, draped in the flag of her dead husband and son’s royal house, appears regularly on stage like Hamlet’s ghost to ensure justice is done.

Perhaps surprisingly in a play so full of violence, there’s also a lot of humour, in the dramatic, semi-hysterical posturing of Joe Eyre’s Buckingham, who could be mistaken for a radical religious preacher as he makes the speech that secures Richard’s place on the throne. And Robert Nairne’s Catesby, who’s transformed for this production into a no-nonsense security man, enjoys some fun interaction with the audience as he hands out flags for the young princes’ arrival, before smugly presenting the two moody teenagers with an XBox to keep them quiet.

It’s clear from both the production and the directors’ programme notes that there’s a topical subtext to be found in Antic Disposition’s interpretation of Richard III. But this message is applied subtly enough – for the most part – that anyone who simply wants to see an excellent and very accessible production of Shakespeare’s historical play will find themselves more than satisfied. It takes some doing to put together a performance so gripping that it can distract from such an amazing venue – but while the setting certainly adds atmosphere, the true star of this show is the show itself.


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: Helen at the Hen and Chickens

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If today we’re all too familiar with the concept of fake news, Euripides was a few centuries ahead of his time when he wrote Helen in 412 BC. An alternative view on the Trojan War, the play argues that Helen – whose seduction by Paris was the cause of the decade-long conflict – was actually in hiding in Egypt the whole time, while the Helen taken to Troy was no more than a copy created by the goddess Hera to punish Paris. Unfortunately, nobody knows about this, so they all blame Helen for the devastation waged in her name, leaving her desperate to expose the lie and save her reputation.

The story’s picked up in Egypt following the fall of Troy, when who should arrive shipwrecked and scantily clad on their shores but Helen’s husband Menelaus. His phantom wife conveniently vanishes into thin air just as he re-encounters the real one, and together they trick the Egyptian king Theoclymenus – who wants to marry Helen himself – into letting them go.

This new version of Euripides’ play comes from Theatre of Heaven and Hell, a company dedicated to producing absurdist plays and reviving forgotten gems. Helen is a bit of both; a little more comedy than tragedy, it moves through the story at a brisk pace, and doesn’t shy away from exposing its more farcical aspects. There are moments in Michael Ward’s production that feel a bit like Monty Python does Ancient Greece, contrasting sharply with the play’s slightly sinister opening and closing sequences, in which the masked and robed Chorus set the scene to a dramatic soundtrack.

As difficult as it is to categorise, Helen nonetheless makes for an entertaining hour of theatre. The women come out on top – Helen herself and the prophetess Theonoe, played by Elena Clements and Sarah Day-Smith respectively – emerge not only with the most dignity but also all the moral fibre, while the men are made to look like fools. Nicholas Bright and Darren Ruston play the famous leaders Menelaus and Theoclymenus as comically simple souls who are nothing without women to tell them what to do, and Brian Eastty and Marius Clements have two of the funniest scenes as messengers who patiently expose their rulers’ mistakes.

A surprising twist on an old story, Helen touches on some very modern themes, from feminism and victim blaming to fake news and the pointlessness of war. The scene in which one of Menelaus’ men questions their reasons for going to war in the first place is funny but painfully topical, and the responsibility placed on Helen’s shoulders for the actions of men invites us to ponder gloomily how much attitudes have really changed several centuries later.

It’s an odd little play, which is nothing like you might expect (let’s be honest: you hear Euripides, you don’t expect lines like, “We went to war for a cloud?”) but Helen is undeniably good – if slightly surreal – fun.


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: Hot Mess at the Lion and Unicorn Theatre

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What is love? This age-old question has been asked by everyone from Shakespeare to Haddaway, and in Hot Mess, Ella Hickson adds her voice to the debate. To each of her characters, love means something different: for Twitch (Katrina Allen), it means becoming indelible, leaving a mark on the other person to ensure she can never be forgotten. To her twin brother Polo (Timothy Renouf), it’s a concept so alien he can’t even say the word. For their friend Jacks (Natalia Titcomb), it’s a brief moment of physical connection – the briefer the better. And for American tourist Billy (Gareth Balai), it may prove to be a lot more than he bargained for…

Like an old married couple who’ve told their “how we met” story so many times it’s become a choreographed performance, Twitch and Polo open proceedings by explaining how they came into the world: Polo first – clean, quiet and pale – followed by Twitch – messy and loud, her appearance a surprise that nobody counted on. Then it gets a little weird, as we learn they had only one heart between them, which was bestowed on Twitch. As a result, she loves often and devotedly, while Polo (so named because he has a hole where his heart should be) can’t bring himself to feel anything for anyone.

The events of the story take place over one night, as the twins celebrate their 25th birthday on a raucous night out, and simultaneous encounters allow a direct, poetic exploration of the two girls’ contrasting attitudes to sex. At the same time, Polo outlines his sister’s unfortunate history with boys, who have a habit of meeting nasty accidents when they don’t reciprocate her feelings. Her brother shares this information casually, almost with amusement (much as he talks about almost everything else) – yet his concern when Twitch falls hard and fast for Billy seems genuine, if only because he knows long before the rest of us what the end result might be.

Originally staged in a nightclub, the play moves to a more traditional setting under the direction of Vernal Theatre’s Julian Bruton and Kieran Rogers. The cast – much like the play – is one of two halves, though all four are equally impressive. As Polo and Jacks, Timothy Renouf and Natalia Titcomb are loud, brash and very funny; above all they want to be seen and admired, and will do literally anything to achieve that attention. In contrast, Katrina Allen and Gareth Balai (who plays all Twitch’s unfortunate former boyfriends as well as Billy) are sweetly likeable, each with their own kind of innocence about what lies ahead. Ultimately, you get the feeling Polo isn’t the only one lacking something fundamental – but he might just be the only one who’s aware of what’s missing.

Like the twins’ birthday celebration, Hot Mess is something of an emotional rollercoaster, and concludes with a striking final image that’s not easy to shake off. The play asks some deep questions, and certainly doesn’t offer much in the way of answers – but getting to the bottom of it all is an enjoyable challenge.


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: Douglas Baker, Dante’s Divine Comedy

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So It Goes Theatre return to Barons Court next month with their 21st century interpretation of Dante’s Divine Comedy. Adapted from the 700-year-old narrative poem, it’s the story of Dante’s quest to rediscover the reasons for living by reuniting with his lost childhood love Beatrice; to do this he’s taken on a tour of hell, purgatory and heaven by mysterious stranger Virgil. “Naturally there’s loads to explore: faith, morality, friendship, redemption. You name it, there’s a whole world inside this show,” says director Douglas Baker.

Funnily enough, Douglas didn’t originally set out to adapt Dante’s classic poem. “I’m embarrassed to say it was basically a complete accident,” he admits. “I had in my head an entirely different piece of source material – which I won’t go into now because it may surface in the near future. However, when I arrived at the Barons Court, I knew instantly it wouldn’t work there, so I had a mad weekend reading lots of different texts to try and find something else to do.

“I wanted something that was seriously old, out of copyright, brimming with theatrical potential. There was one particularly desperate moment where I was considering stringing all Shakespeare’s sonnets together into a narrative; thank God I found the Divine Comedy. As I started reading it, I couldn’t put it down. It drew me in with every passage. The pace of the thing – despite its hefty length – is incredible.”

Despite its appeal, turning Dante’s original poem into a 90-minute play for a 21st century audience came with some pretty big challenges. “I don’t want to give too much away but I think there were three big problems,” says Douglas. “Firstly, trying to create a dramatic arc in a poem that is essentially a series of meetings where the main character simply accepts what he sees as truth; structurally this is so boring and doesn’t make so much sense as a coherent story. So we’ve flipped, rearranged and cut down lots in order to – fingers crossed – make an emotionally believable journey.

“Secondly, we wanted a culture in the rehearsal room where we worked openly with only dialogue on the page. So it was a challenge to try not premeditating what I thought it would look like on stage. Even though scenes were brimming with potential, I didn’t want to lock us into something that we couldn’t achieve. So finding that balance between honouring both the text and the devising process was tricky, but hopefully we’ve made it work.

“The other main problem was trying to present medieval morality sympathetically. I quickly saw that it was impossible, so as a result we’ve had to take some liberties. Our Dante is younger and more rebellious. I thought that youthful mindset could work because we the audience are basically seeing this stuffy old fashioned world through Dante’s eyes, so we can hopefully justify the difference between the Dante in the poem and the Dante we present on stage. The story is the same, but Dante’s feelings towards it have been modernised.”

Douglas is looking forward to introducing new audiences to Dante’s work, and says prior knowledge of the Divine Comedy isn’t a must: “I would say not. Part of the attraction to the poem was the feeling that many people knew of it, but not in any real detail. There’s something incredibly exciting about introducing people to a dusty old book for the first time; perhaps our interpretation will encourage people to read it for themselves and come to their own understanding about morality or the afterlife. I hope people will see our piece as a series of questions rather than assertions. The hope is we can ignite curiosities that will push people to reach their own conclusions.”

The show returns to Barons Court for a second time following a well-received run in April. “Being back is strangely unnerving,” says Douglas. “We always forget how small the stage is, so it requires seriously precise coordination to keep things visually interesting. Luckily our movement director Matthew is a genius at utilising space in interesting ways, so your eye is always drawn correctly. Other than that it’s just been a case of balancing creating with re-creating, we don’t want to just redo the original production but rather build on it and improve.”

This latest run, which opens on 5th September, sees almost all of the seven-strong cast reprise their roles. “They are the most generous people you could ever hope to meet,” says Douglas. “The bond between performer and director can be so fragile if egos are at play. If a cast don’t trust the director they will seize up and work only for themselves. But these cast members work for each other, they are beautifully spirited people.

“As a director I often get my actors to do very weird weird things to create the spectacle for the audience, so if it’s to translate into a coherent performance where they can commit completely it’s utterly reliant upon their trust in me. I think we have that trust, so the rehearsal room is a joyful space where we can really play and find the truth in what we’re doing.”

Douglas co-founded So It Goes Theatre with producer Charles Golding. “Charlie and I created the company way back in 2011, its been on hiatus for a while because Charlie now has a family but we always knew it would be back some day,” he explains. “We wanted to do a combination of reimagining classic stories and telling brand new ones. We want to showcase new performance talents in a largely ensemble context. We were also aware that the majority of actors auditioning for us were female, so we decided very quickly to produce work that in general favoured largely female casts. Maybe it was pragmatic rather than righteous, but it’s worked for us so far.”

Book now for Dante’s Divine Comedy at Barons Court Theatre from 5th-30th September.