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Review: It’s a Playception at The Hope Theatre

Published on September 11, 2019September 11, 2019 by LizLeave a comment

Two women have written a play. It’s about two women writing a play. Which is about two women… You get the idea. The women in question are Evangeline Duncan and Olivia Baker, who play friends Elise and Sirenna as they prepare to bring their “playception” to a paying audience for the first time. Assuming they can figure out a marketing strategy, that is, and get the theatre technician, Gup – a Generally Unhelpful Person (Josh Redding) – to cooperate. Oh, and hopefully sell some tickets to people who aren’t their friends and family.

Long story short: they have no idea what they’re doing, and they’re about to learn that putting on a play is far from easy, even if you do have a great idea, boundless enthusiasm and a generous godfather who’s willing to foot the bill. But at least they have each other… right?

As an audience member, and especially as a reviewer, it can sometimes be easy to forget that every piece of theatre – no matter how big or small in scale – is the product of blood, sweat, tears, and almost certainly copious amounts of coffee. It’s a Playception offers us an insight into just how soul-destroying the process of getting an idea from page to stage can be, but more importantly, it also documents the satisfaction that comes from battling through and actually making it, however clumsily, to opening night.

The hour-long show is performed with heart and humour by two women who aren’t afraid to laugh either at themselves specifically or the theatre industry in general. Elise and Sirenna are naïve, immature and easily distracted by everything from cute dungarees to cute technicians. They’re also very different people, with pretty much only their daily coffee choices in common, but somehow that’s enough to ensure their partnership – both on stage and off – succeeds.

As the different levels of fiction begin to blur, it becomes harder to separate the actors from their characters, or their characters’ characters, particularly since all the action takes place in the small theatre where they’ll rehearse and perform their play. More than once a scene we thought was happening in “real life” stops abruptly and gets rewritten on the spot, while other moments of high drama just keep going, even when things get awkward. When Elise and Sirenna start getting confused about how much of what’s going on is actually true, we know the audience doesn’t stand a chance.

So, are we watching a rehearsal, the play itself or the run-up to the play? I honestly have no idea, but it doesn’t really matter because the heart of every version is the same: two friends who believe in themselves, and each other, enough to throw themselves in the deep end and take a chance. And if that doesn’t sum up the spirit of theatre, then I don’t know what does.

It’s a Playception was performed at The Hope Theatre on 8th and 9th September. For details of future performances, follow @ZestofaLemon and @evieelizabethd.

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

Published on September 6, 2019 by LizLeave a comment

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.

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

Published on September 6, 2019 by LizLeave a comment

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.

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.

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.

Review: Macbeth at Temple Church

Published on August 25, 2019 by Liz2 Comments

Having established a solid reputation for their atmospheric and stylish Shakespeare adaptations, it was perhaps only a matter of time before Antic Disposition turned their attention to Macbeth. Returning to London’s majestic Temple Church, Ben Horslen and John Risebero’s meticulously detailed production sets the action in the Victorian period, delving into the gender and class politics that lie behind this well-known tale of murderous ambition.

The first and most obvious twist in this tale is the repositioning of the three witches as servants within the royal household. This works incredibly well; safe in the knowledge that they’re as good as invisible to their superiors, the three women are able to become much more active players, observing and enabling the bloody chain of events they’ve unleashed while constantly hidden in plain sight. Robyn Holdaway, Bryony Tebbutt and Louise Templeton are a wonderfully sinister presence, gliding unseen on to the stage and responding with silent, malevolent satisfaction as each new blow in the struggle for power finds its mark.

At the head of a strong cast is Harry Anton’s intriguingly conflicted Macbeth. A commanding physical presence on stage, he’s also a thinker who never acts without first considering all implications, pronouncing each line of his soliloquies with great deliberation and control. This frequently – and understandably – irritates his wife, who’s much more capable of seizing the moment and turning it to her advantage. As with the witches, Helen Millar’s performance is beautifully detailed, her eyes and body language frequently communicating what she can’t say aloud. The dynamic between the two shifts back and forth – when they’re alone he’s submissive to her will, but in public she must step back and play the charming hostess, and her frustration at having to rely on her husband to get the job done is palpable.

The rest of the cast offer strong support, with Andrew Hislop particularly impressive as a vengeful and grief-stricken Macduff, and Chris Courtenay an authoritative yet sympathetic Duncan. I also really enjoyed the touch of comedy brought to the role of Ross by Robert Bradley; his attempts at awkward small talk just before the discovery of Duncan’s body are all too relatable.

The production makes excellent use of the venue – though I imagine an evening performance would do so even more effectively than the matinee I attended. The action is presented on a traverse stage, with the audience frequently invited in as guests at the Macbeths’ feast or soldiers in the final battle. Admittedly there are a few issues with acoustics, particularly when actors are facing away – but that’s an occupational hazard in a building like this one and while a few lines of dialogue may be lost, ultimately it doesn’t detract from the atmosphere or impact of the performance. This is further heightened by James Burrows’ music, which subtly signposts the key dramatic moments without distracting from them.

Antic Disposition have set the bar pretty high with their previous work, but Macbeth certainly doesn’t disappoint – if anything, it begs a second visit to catch all the little details we may have missed first time around. A visually striking and deliciously creepy production with impressive performances across the board, this adaptation may make you look at Macbeth with fresh eyes. Failing that, it might just give you a nightmare or two – but it’s worth it.

Macbeth is at Temple Church until 7th September.

Review: What Happens Next Will _ Your _ at the White Bear Theatre

Published on August 24, 2019August 24, 2019 by LizLeave a comment

Gather round, kids, it’s time for a history lesson… Once upon a time, if you were out and about and you witnessed behaviour that was annoying, weird or socially unacceptable, the only thing to do was make a mental note and then have a bit of a rant about it to your family, friends and colleagues when you arrived at your destination. But those days are gone; now we have the wonderful world of social media, and with it the ability to instantly and publicly shame anyone we judge not to be living up to our own expected standards of behaviour. And sometimes, that harmless tweet or jokey Facebook post captures the public’s imagination and takes on a life of its own – but at what point does calling people out for what we deem bad behaviour stop being just a bit of fun?

In Chris McCurry and Ryan Whittle’s What Happens Next Will __ Your __, freelance journalist Alex (Whittle) finds himself trapped on a roof with Darren (McCurry), an overly chatty security guard with some highly questionable views on a number of issues. Frustrated and incredulous, Alex does what – let’s be honest – a lot of us would consider doing, and starts live tweeting their conversation to his substantial online following, who respond instantly and with great enthusiasm. And what happens next… well, you get the idea.

What begins as a funny story of an awkward encounter quickly ventures into some uncomfortable territory, as the replies to Alex’s tweets begin to flash up on the TV screen in the corner of the stage. First there’s delight, then outrage, and finally blind hatred and even death threats directed at a stranger none of them have ever met. Even after Alex starts actually listening to what Darren’s really trying to say and stops firing off sarcastic tweets, it’s too late; he’s already started something he can’t stop. Not only that, he’s beginning to realise that the people who follow him so voraciously may not actually be all that different from those he exposes – and that he might not be such a great guy himself, either.

Like any good clickbait video on the internet, you can guess at least part of where the story’s headed – and yet it’s impossible to look away as the inevitable car crash moment approaches. This, when it arrives, is set up so well that somehow it still manages to feel like a shock twist, and the impact is painfully, cringingly horrific to watch. Chris McCurry and Ryan Whittle are an excellent double act, nailing the comedy in the script with such expert precision that it takes a while to realise that our sympathy has begun to shift from one character to the other, or that for the first half of the play we’ve been guilty of making the exact same snap judgments as Alex. Not a second of the 50-minute play is wasted; even the awkward silences between the two men are loaded with meaning, and in many ways we learn more about who each of them really is from what they don’t say than from their actual conversation.

What Happens Next Will __ Your __ is an excellent piece of new writing and a strong debut production from My Mate Monster. Relatable and entertaining, it also challenges the audience to examine our own behaviour online and its potential consequences. More than that, though, it reminds us to be kind – both on and off the internet – and take a moment before passing judgment on people we’ve never met. In a world that feels increasingly hostile, that’s a reminder we can’t hear often enough.

The final performance of What Happens Next Will __ Your __ is tonight (24th August) at the White Bear Theatre – do grab a ticket if you can.