It’s reassuring to learn I’m not the only one who finds the end of A Midsummer Night’s Dream vaguely unsatisfying. You know, the one where Demetrius wakes up inexplicably in love with Helena, despite having pursued Hermia all night, and nobody bats an eyelid. It may have seemed like a happy ending for all concerned, but to be honest I’ve always felt a bit bad for Helena, married to a man who only loves her because of a magic spell, rather than because of who she is.
Door Ajar Theatre clearly had similar doubts, and so bring us Thisbe, a charming and very funny follow-up to Shakespeare’s comedy. Fourteen years have passed, and Demetrius and Helena’s teenage daughter Thisbe is tired of always coming second place to her mum in her dad’s affections. Desperate to know what happened all those years ago, she ventures into the woods, where she encounters Puck and his fairies – who have lost none of their appetite for chaos. But it turns out love is a much more complicated business than Thisbe realises, and suddenly it’s up to her to save her parents’ marriage… assuming she wants to, that is.
Directed by Roberta Zuric, the show transfers the action to a modern day setting, and is performed by a cast of six talented actor-musicians working together as a seamless ensemble. Rosalind Burt hits exactly the right note as Thisbe, a stroppy yet utterly relatable teenager – though her story may be one of magic, the emotions behind it are all too familiar. Joey Hickman is a hilarious Puck; no longer under Oberon’s thumb, he’s very much the boss in the woods these days, but there’s more than a little of the petulant child in him too.
Anne-Marie Piazza and David Osmond play Thisbe’s bemused parents, quoting Shakespeare in moments of high tension, and – in one of my favourite scenes – regressing fourteen years and getting into a fight with an equally bewildered Hermia (played by the show’s writer, Samantha Sutherland). Meanwhile, the show is BSL interpreted by Jennifer Wilson, who also narrates and plays one of the conflicting voices in Thisbe’s head; and because she’s not only there to sign but as an active member of the cast, the BSL feels very naturally integrated and is a welcome addition to the show rather than a distraction.
At just 75 minutes, the show moves very fast, with cast members switching roles in the blink of an eye (and the change of a hat), playing a variety of instruments – not just on the catchy, toe-tapping musical numbers, but to create sound effects too – and constantly rearranging the set as the action changes location. This is a very physical show, which requires its cast to be on the move (and in the right place) throughout, and they all throw themselves energetically into the action without missing a beat.
There are, as you might expect, plenty of witty and well-placed references to A Midsummer Night’s Dream, but the plot of Thisbe necessarily allows for a handy synopsis – “what happened in the woods…?” – so that any audience members who might not be aware of the characters’ backstory don’t miss out.
I don’t know if Thisbe is the sequel Shakespeare would have come up with, but it certainly answers a few of my questions – and it’s also a really entertaining story in its own right. Funny, relevant and beautifully performed, this is an exciting debut from Door Ajar Theatre; let’s hope we see a lot more of them in the future.
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… 😉
The tried and tested conventions of the pantomime form are entrenched in our theatrical consciousness as deeply as Yorrick’s skull or Earnest’s mother’s handbag. The plucky principal boy (played by a girl), a 4th wall-breaking dame (played by a man), the slapstick comedy (borrowed from commedia dell-arte), the audience participation and the musical numbers all wrapped in a mythical fable. Panto season is old. But it is also, for theatre managers, big business. The pressure is on, then, with every theatre in the country performing the same set of fairy-tales, to make your pantomime a sure-fire success.
At Theatre Royal Stratford East, director Kerry Michael and writer Paul Sirett have done exactly that. Sinbad The Sailor is a family-orientated festival of fun that honours the traditional archetypes of the pantomime form whilst allowing for refreshing modern twists. It is a fast and fluid, beautifully-realised pageant that champions community, acceptance and friendship.
The story is simple enough: Sinbad is in a competition for the love of a beautiful princess. It’s a race to find an artefact, the use of which ultimately sums up the production’s focus on the power of the human heart. It’s a quest across the sea, filled with monsters, pirates, giant monkeys, jungle fevers, rebellious genies, love, laughter and magic.
Sirret’s sharp-tongued and astute script, as well as Michael’s meticulous direction make the action sing, with scenes interlocking and careening the audience through the adventure plot. There was a tendency to rely too much on Donald Trump jokes, which I suppose is only to be expected this year, but I did feel their power and punch would have been strengthened had they been fewer. Wayne Nunes and Perry Melius’s music and lyrics serenades us into the exotic world of the story – the highlight being a phenomenal gospel revival church number for the Genies – whilst carefully dipping into modern pop culture.
Rina Fatania plays the Green Genie Uzz. Fatania is simply a force of nature; her neck-high pantaloons are bursting with an effervescent energy. She is the purest essence of a clown I’ve ever seen, and her mastery of her character arc is at once charming, gorgeous and irrepressibly endearing. At her side is Globe Theatre veteran Michael Bertenshaw as the villain Prince Naw-Ze Uzz. A veritable jedi of the medium, Bertenshaw fulfils the Dame/Buttons roles here as the primary link to the audience. This is an interesting inversion of the form on the writer’s part, and Bertenshaw flourishes majestically in his cutting social commentary. His gimlet-eyed, glee-filled confessional with the audience is flawless, and his scenes with Fatania become a masterclass in comic timing.
Alim Jayda also deserves mention for his star turn as Captain Greenbeard, a cross between Beetlejuice, Alan Carr, Jack Sparrow and The Hitcher from The Mighty Boosh. Jayda commands the stage in every scene he’s in, and infuses the role with a verve and vitality that reveals the considerable depth of his talent, and his ease in the medium. This young man has a bright future ahead of him.
Drama school graduate Julian Capolei plays the eponymous role of renowned adventurer Sinbad, another twist on the form being that it is actually his sister Sinbadda, played by Gabby Wong, who’s responsible for all the adventures, whilst Sinbad stays cosy and safe writing stories. The duo make a perfect pair, wide-eyed and happy-go-lucky, their onstage chemistry and affection for each other palpable. Along for the adventure is Marianna Neofitou as the Princess, who actually spends the majority of the play dressed as a young man, another clever inversion of the “principal boy” form, transforming her from the usual female prize/hostage to an active participant of the adventure. Capolei and Neofitou indulge in some wonderfully-realised gender-bending romance, revelling in the Twelfth Night-esquesexuality questions that plague Sinbad as his feelings for the feminine young man grow. It’s a beautiful thing to watch and perfectly rebrands the hetero-narrative of a panto romance with an arresting metrosexual and modern twist.
Rounding off the band of heroes is Funky the Monkey, puppeteered and performed by Gemma Salter. Funky is clearly an inclusion for the younger viewers, and yet Salter fills the puppet with a cheeky irrepressible charm that reveals a performance of precision and an undeniable skill for the medium. After the first few minutes, Salter disappeared, and the puppet came to life, and that I think, is a truly magical achievement. Salter is blessed with an electric stage presence that delivers nuanced and poignant comedy. She convivially scampers across the stage with a delightful charm, imbuing Funky with all the qualities that a young person could want in their best friend.
Ben Goffe plays the Sultan, father to the Princess, but it’s in his other character-based roles where he truly shines. Whether as an off-shore delivery man, a nine-headed monster, or a soul-singing genie, he emanates a versatile and capricious glee. Goffe and Josephine Melville (Clanker and Sultana) also provide one of the most beautiful and stylish tap routines, harkening back to the halcyon days of Fred Astaire and Ginger Rogers – a moment both tragic and uplifting.
Johnny Amobi is the Nurse, and whilst this role is presumably supposed to fill the “dame” requirement, Amobi has transcended the casting and delivered a multi-layered and deeply faceted performance that perhaps would be more suited to Ru Paul’s Drag Race. It offers a modern take on the role, and perhaps a much needed representation of trans-issues for the medium. He is not simply a man in a dress, he is a force of acceptance and discovery, and should be applauded for creating a loveable, twerking-winking-singing queen of the comebacks.
The set is simple in nature, and has a certain charm in the sense of its nod to kitsch and gaudiness, often drawing back to let the actors have full use of the space. Particular kudos must go to special effects consultant Scott Penrose, whose use of high-calibre magic stage effects were truly spell-binding at points and incredibly effective at selling the more supernatural elements of the production. There were slightly too many points where lights were shone directly in the audience’s faces to cover a trick – the creatives should have faith perhaps in their own illusory skills and not seek to hide so much of what is a fantastically designed production in terms of its business.
In its final moments, Sinbad the Sailor reminds us through its closing song that there is more that connects us than that which divides us, that we are all one people, and our strength is at its zenith when we are united. And, in the last days of 2016, this seems incredibly timely and well-judged. Stratford East have a pantomime that is hilarious, warm and filled with heart – but most of all, its message for us right now is a vital one.
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… 😉
Joe Sellman-Leava is co-artistic director of Worklight Theatre, and writer of the award-winning Labels, a solo show that tells a very personal story and invites us to consider its implications on a much broader political scale. In this interview, Joe explains a little about the show’s background, and how it’s been received so far.
Labels can currently be seen at Theatre Royal Stratford East until 30th April – you can read my 5-star review over at Carn’s Theatre Passion – before embarking on a national tour.
If you could sum up the show in one sentence, what would it be?
A personal, political odyssey through right-wing rhetoric, prejudice and family.
What inspired you to write Labels?
I was in a drama workshop at Exeter University in 2009, exploring racism and inequality. It was led by Emma Thompson, who was doing a series of talks and events at the University after her son Tindy experienced racist abuse during his degree. I wrote the beginnings of what eventually became Labels, in preparation for that workshop. Afterwards I kept writing and developing it in small bites. A year later, in early 2015, with a general election looming and national debate dominated by anti-immigration rhetoric, I felt it was time to finish the show and start touring it.
Emma Thompson described the show as “simple, powerful, important and funny”. What does it mean to you to have such a successful and influential supporter?
It means a lot! Firstly, it’s a huge validation, especially when the show was initially inspired by her workshop. Also, getting new audiences to trust you is hard, and Emma’s words have meant that people who might never have connected with us have now seen the show, told their friends and will hopefully stay interested in what Worklight are doing next.
The show is obviously very current. Did it develop in the way you expected when you started writing it, or has it taken other directions as a result of world events?
Specific events in the last 12 months or so have definitely made their impact on the show, and we felt we had a responsibility to respond to what was happening given the themes and content of the show. That said, things were different 6 years ago when I started writing this, and different again when my parents were experiencing some of the things the show discusses. As well as responding to what’s happening now, we’ve always tried to acknowledge the timeless elements of the show (people have always migrated), as well as the fact that history repeats itself: for instance, we cite Enoch Powell’s speeches alongside those of David Cameron and Nigel Farage.
You share several very personal and quite difficult memories – both your own and your family’s. Has that been hard, and does it get any easier the more you perform the show?
It’s not hard performing it, but creating the show had its challenges with regard to including personal stories. So much of the content is derived from my parents’ first hand experiences of racism, as well as other experiences or conversations within our family. When the story isn’t yours alone, you have to tread carefully so no one feels used, or exploited when it’s made public. So yes, performing the show feels fine, but getting the show to a place where it did justice to the people whose stories it’s built on, that was challenging!
How have audiences responded? Have you had any unexpected reactions?
Responses have been very positive: after most shows people are keen to chat and lots of them tell us how the story resonated because they’ve experienced racism or other forms of prejudice in their own lives. Or because they’ve seen a friend or family member on the receiving end of those experiences. As for unexpected reactions…there are sometimes people who disagree with certain opinions expressed in the show, and to be honest we always welcome this. Theatre should be a space where people can discuss, debate, disagree, and Worklight try to embrace the opportunity live performance has to create this kind of experience for audiences which, for instance, film or TV can’t in quite the same way.
You do a lot of impressions in Labels. Which was the toughest one to get the hang of? And which is your favourite?
I find the Australian accent quite tricky, so Tony Abbott is probably the toughest! My favourite is Ed Miliband… let’s hope he finds something new to do soon, or I’ll have to retire his impression!
When did Katharina [Reinthaller, the director] come on board? How has it been working with her on developing the show?
Katharina came on board in March 2015, via Jessica Beck – a director both of us have worked with a lot. Her input as director and dramaturg has been invaluable and took the show forward in new, exciting ways. She has a fantastic ear for the power of language, imagery and the way stories resonate, so the countless hours spent working through the many, many drafts of the text with her were a joy. And her equally brilliant eye for proxemics, energetic shifts and rhythmic changes meant she took the performance to a new level. It’s her first collaboration with Worklight and we’re thrilled she’ll be directing our next show, Fix!
How does it feel to be launching the new theatre space at Stratford East?
It’s a real privilege and very exciting! Stratford East is truly committed to being “a people’s theatre” and you can see this in their programme, their audiences, the very building itself. We couldn’t think of a better fit for the show.
What’s one thing you hope your audiences will take away from the show?
We want people to leave thinking about and talking about what they’ve seen!