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Review: The Almighty Sometimes at The Royal Exchange

Published on February 16, 2018July 20, 2019 by LizLeave a comment

Guest review by Aleks Anders

The Royal Exchange over recent years has certainly changed its ethos in how they produce their main house productions; moving away from the comfortable, ‘bums-on-seats’ plays and musicals which were so much a part of this theatre company’s repertoire to a much more eclectic, boundary-pushing, rule-breaking, and therefore esoteric choice of productions. Even those that would traditionally be crowd-pullers, the Royal Exchange have chosen to go against the norm and challenge by cross-gender or colour-blind casting etc. So it was no surprise at all when they announced that the next play in their season was to be a Bruntwood Prize winner which tackles adolescent mental health.

The Almighty Sometimes by Kendall Feaver is a beautifully written and superbly observed piece of writing. It is honest, no punches are pulled, and yet there is great humour in there too, which serves to heighten and highlight the tensions and problems that mental health raises, especially when it concerns minors. Director Katy Rudd is right; it is one of those scripts which once you have read it you simply know you have to direct it!

In the world premiere production of this powerful and challenging four-hander, we see not only the inner struggles of a now 18 year old girl coming out of adolescence into adulthood, continually questioning her own mental state, caught between the perhaps unanswerable question of “what is me and what is my medication” syndrome, but we also see how her relationship and trust in both her mother, her boyfriend and her psychiatrist changes and develops over time. Her now rather fragile relationship with her mother begs questions like “Could she have done differently for me?”, “Why did she have to tell the doctors everything?”, “Was my mum or doctor always acting in my best interest?”; “What will happen if I don’t take my medication?”, “What will happen if I don’t take the doctor’s advice?”, “Did I even have a mental illness in the first place?” Indeed these same questions are being asked by her mother too, and the see-saw of their relationship is played with great passion and skill. She has been seeing the same psychiatrist since the age of 7, and they have built up a bond that could perhaps under other circumstances be called friendship; the compassion and understanding versus professionalism and correctness is played again with great understanding.

Norah Lopez Holden, no stranger to The Royal Exchange, is utterly superb as Anna, the teenager with hundreds of questions and no answers, her mood swings and her demeanour superbly measured. Another familiar face on the local circuit is Julie Hesmondhalgh playing Renee, Anna’s mother, whilst Mike Noble plays Oliver, Anna’s only real boyfriend / friend, and psychiatrist Vivienne is Sharon Duncan-Brewster.

To be honest, and without trying to sound sycophantic and gushing, the acting from all four is excellent; the chemistry between them is real, and their emotions and responses, electric.

I do have something less positive to say though. Obviously this is only a personal reaction, but I did find that the lighting and sound detracted and misled, rather than adding and complementing. I felt very much as if I were watching a suspense thriller or similar where the background music in the film draws you in and conditions your emotional response. It was the same here, both the sound and lighting used throughout the play conditioned our emotions and told us exactly how we should be feeling and emoting at any particular point, rather than letting the wonderful words and acting affect us, each in our own way and in our own time.

The play doesn’t try to give answers or solutions to this ever-growing and contemporary issue; nor does it try to understand the problems, but with much humour and honesty simply lays the facts bare and leaves it up to the performers, director and audience to grapple with the issues in their own way. I am certain every audience member will have left the auditorium this evening with a different understanding and response to what they had just witnessed; however, what was abundantly clear was that we were all in agreement of the fact that it was exceptionally well presented by four consummate performers, and the subject was intelligently, sensitively and sensibly treated .

Certainly one of the best plays I have seen at The Royal Exchange for a long time, and a real gem of a play with a story that absolutely needs to be told.

Review: The Moor at the Old Red Lion Theatre

Published on February 14, 2018July 20, 2019 by LizLeave a comment

You couldn’t get much further from the Yorkshire countryside than the bustling streets of Islington. Yet in the Old Red Lion pub theatre, a little piece of the moor is brought to life with eery authenticity in Catherine Lucie’s haunting psychological thriller. A murder mystery with a hint of the supernatural, this unpredictable tale, directed by Blythe Stewart, keeps us guessing until the very end, and beyond.

Young mother Bronagh (Jill McAusland) is threatened by her drunk, abusive partner after he sees her talking to another man at a party. The next day, she learns the other man has disappeared; not surprisingly, she soon draws her own conclusions about what kept her boyfriend Graeme (Oliver Britten) out so late. So far, so conventional. But then Bronagh’s suspicions start to develop into memories of what she saw that night, memories she relays with growing conviction to local police detective and old family friend, Pat (Jonny Magnanti). Naturally, both he and we regard her reports with equal parts suspicion and sympathy; after all, if she does have an agenda, it’s an understandable one. But does she?

And this is where things get interesting, because Bronagh’s motivations are the biggest mystery of all. Lucie provides us with just enough detail to piece together a backstory for her central character, but stops short of supplying enough to reach any firm conclusions. We know Bronagh’s lonely, frightened, and possibly depressed following the death of her mother and birth of her baby – events that seem to have happened almost simultaneously three months earlier. But even though she frequently confides in the audience directly, it’s still impossible for us to tell if she’s making things up, having hallucinations, the victim of supernatural forces, actually telling the truth… or a combination of all four. Even when the mystery of Jordan Becker’s disappearance is solved, we’re really none the wiser as to what’s gone on; just as Bronagh reflects on alternative universes created by each choice we make, there are a multitude of possible interpretations of the play’s events, and Lucie leaves us to decide which one we think fits.

This complexity is captured beautifully in Jill McAusland’s performance as Bronagh. A small, vulnerable figure constantly on the verge of tears, at the same time there’s something deliberate and knowing in her exchanges with both Graeme and Pat that keeps us on shifting and uncertain ground. And as it turns out, the two male characters are no less complicated: Oliver Britten’s Graeme, for all his bluster and violent temper, emerges as an unexpectedly sympathetic character, while Jonny Magnanti’s kindly Pat is torn between his duties as a police officer and what is clearly a more complicated history with Bronagh and her family than either is letting on.

Holly Pigott’s set, with a backdrop made up of rotating panels, portrays the moor as a labyrinthine world in which it’s easy to lose yourself. An ever present mist covers the stage, evoking both the wild rural landscape and the self-imposed darkness in which Bronagh and her baby daughter live.

Tense and intriguing throughout, The Moor is a skilfully constructed thriller that twists, turns and keeps us constantly questioning our own judgments. But it’s also a sensitive character study of a young woman trying to find where she belongs in a scary, isolating world – and to some extent, that’s a feeling we can all relate to.

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: Monolog at Chickenshed

Published on February 10, 2018July 20, 2019 by Liz1 Comment

The first time I went to Chickenshed was just over a month ago, to see a cast of hundreds in their Christmas show, Rapunzel. My second visit, in dramatic contrast, was an altogether quieter affair: Monolog, as the name suggests, is an evening of solo performances in the intimate Chickenshed studio. Artistic Director Lou Stein has put together a programme that simultaneously celebrates two of the nation’s favourite writers – Alan Bennett and Diane Samuels – and showcases original work from new voices within the Chickenshed community.

In a twist to the format, every audience will see a slightly different show; there are six new plays altogether, but only two will be performed on any given evening. In addition, the second monologue of the night, Diane Samuels’ This Is Me, will be performed on alternate days by 15-year-old Lucy-Mae Beacock and the “somewhat older” Belinda McGuirk (I’m not being rude, that’s what it says in the programme) – who also performs the first piece, Alan Bennett’s Her Big Chance. Got all that?

Our particular programme began with Belinda McGuirk as Lesley in Alan Bennett’s Her Big Chance. She’s a likeable but naive actress who thinks she’s got her big break in a movie, but can’t see how she’s being manipulated into doing everything she always swore she’d never do. This is a well-timed revival of Bennett’s brilliantly written monologue – originally performed by Julie Walters for TV’s Talking Heads – which shines a light on the treatment of women in the showbiz industry, while also addressing the question (one we’re all getting far too used to hearing these days) of why any self-respecting woman would possibly choose to go along with such behaviour.

The evening continued with Lucy-Mae Beacock in Diane Samuels’ This Is Me. Less a play, more a series of snapshots, the piece is made up of snippets from Samuels’ unpublished autobiography. But – once again – there’s a twist; each memory is written on a piece of cloth and handed out to the audience, thus giving us the power to decide which stories we hear and in what order. Far from appearing daunted by the prospect of a constantly changing script, however, teenager Lucy-Mae Beacock gives an impressively assured and engaging performance. She never once hesitates or stumbles, and brings a youthful innocence to the words and memories of a woman more than three times her age.

Of the six pieces of new writing commissioned, we were treated first to Last Piece of the Sun, created by Alesha Bhakoo, Dave Carey and Milly Rolle. A deceptively light-hearted opening leads us quickly into rather more serious territory, as a young woman in her 20s reflects on the life-changing consequences of a one night stand. The short piece is beautifully performed by Alesha Bhakoo, and packs quite the emotional punch just when we least expect it.

The final piece of this particular evening was the intriguing I Find Love in a Bin, written by Peter Dowse and directed by Tiia Mäkinen. The short piece features Sarah Connolly as a woman who has, quite literally, just found love in a bin at Waterloo Station. The discovery both delights and troubles her, and sparks a flurry of questions and emotions; she has no idea whose love it is, and knows only that it doesn’t belong to her – however much she might want it to.

Both of these new pieces will be performed again – though not necessarily together – as the run continues. The only downside of the mix and match format is that we don’t get to see all six, although hopefully there’ll be further opportunities in the future to see the ones we missed: Dinner With My Dead Dad, Sands of Time, The Creature in the Dark and Walls Like Paper.

Where Rapunzel was big, loud and colourful, Monolog proves that a good story well told by a single voice can have just as big an impact as a stage full of people. More than that, though, the show is an exciting opportunity to see the talent being nurtured within the Chickenshed community. A thoroughly entertaining – and unique – evening.

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: Be Prepared at The Vaults

Published on February 9, 2018July 20, 2019 by LizLeave a comment

It’s a long time since I heard the excellent word “woggle”. But it pops up several times in Ian Bonar’s Be Prepared, on one occasion even getting an upgrade to the equally excellent “mega-woggle”. And if that’s not a word any of us expected to hear from a man making a speech at a funeral – well, let’s just say this isn’t exactly your traditional eulogy.

For one thing, the speaker – Tom, played by Bonar – never really met Mr Chambers, the man whose funeral he’s speaking at. For another, he’s clutching a small plastic keyboard and regularly breaks into song. And then there’s the minor detail that he keeps talking about his dad instead of Mr Chambers. As public speaking goes, it’s not a great effort – but for all its clumsiness, there’s a poignancy and heartfelt sincerity to both the words and the performance that turn this quirky little play into something quite powerful.

Inspired by Bonar’s own experience of losing his dad and then stumbling on his grandfather’s memoires, the story of how Tom comes to be at Mr Chambers’ funeral in the first place is revealed in fits and starts, sandwiched between reflections on death (and life) in general and memories of Tom’s dad in particular. As a result of his unusual “friendship” with the confused elderly man, Tom’s finally able to process and deal with his father’s recent death in a way that he never could before. He’s not over it, and nor should he be, but for the first time he’s able to remember his dad instead of repressing memories of him, and as he returns to his seat at the end of the play – still clutching his keyboard – there’s a sense that the clouds have begun to lift, just a little.

Directed by Rob Watt, Ian Bonar gives a very engaging and charmingly awkward performance, frequently losing his drift and stumbling off down increasingly random tangents (hence the mega-woggle). This unpolished, stream of consciousness approach – he discards his written notes straight away, and apologises constantly in very British fashion – is what makes the play both entertaining and believable, with Tom a character we like and can relate to. Mr Chambers, too, lives through his words (which are actually Bonar’s grandfather’s); as jumbled and unconventional as the storytelling may be, we do end up ultimately with a moving tribute to the man who, by sharing his own memories, helped Tom to do the same.

Be Prepared is a poignant and unexpectedly humorous portrayal of grief and how lost it can make us feel – but it’s also a reminder that there is no right or wrong way to grieve, and a testament to the power of memory to bring us back from the brink. Highly recommended.

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: Roman Berry and Natali Servat, Little Did I Know

Published on February 6, 2018July 20, 2019 by LizLeave a comment

Written by Doc Andersen-Bloomfield, Little Did I Know is the story of a young girl, Aaneseh, who escapes from war-torn Syria by pretending to be a boy, and sets out for England. From Yarl’s Wood Detention and Removal Centre, she recounts her journey and the people she met along the way. The play, voted one of the top 3 in The Bread and Roses Theatre Playwriting Award 2016/2017, opens this week and runs until Saturday.

“Little did I Know is a beautifully written piece, full of compassion and humour,” says director Roman Berry. “The Syrian Civil War started eight years ago and it has created this ongoing humanitarian disaster and there doesn’t seem to be an end to it. I hope that by telling Aaneseh’s narrative, it sheds a light on the current issue of the refugee crisis. Little Did I Know‘s themes of innocence, identity, humanity and survival reflect the refugees’ plight, and it needs to be shared and talked about. Theatre, after all, acts as a cultural space where society examines itself in a mirror and all of us certainly need to reflect and further act on this humanitarian disaster.”

For Natali Servat, who plays Aaneseh in the one-woman show, her story also resonates on a personal level. “I am the child of refugees, so it’s a subject matter that has always affected me and meant a great deal to me,” she says. “It’s such an important story to tell for obvious reasons. People are dying every day as a result of a war that is incredibly hard to fully understand, and that has spiraled out of control. It’s important to remind people that Aaneseh’s story and the journey she is on is not by any means a rarity, it’s one which thousands of people go through each day, not only from Syria.

“I hope people will come out of Little Did I Know having a better understanding of the situation and recognising themselves in Aaneseh. It feels like such a stupid thing to say because it’s so obvious in a way, but these people are not any different to us and if we were faced with the same decisions to make, our choices wouldn’t be much different. We would all want to be met by support and love on the other side, especially after having lost everything and endured trauma that will follow you forever.”

The play charts Aanaseh’s journey as she sets out in search of safety, freedom and independence, growing along the way into a courageous young woman. “I love playing Aaneseh because she is such a complex and varied character to play,” says Natali. “We follow her during different stages of her early life, at first when she’s still a teenage girl living in Syria with a lot of her childlike innocence still intact. Later on, as she’s pretending to be a boy, something that she has to try and completely immerse herself into due to the fear of what might happen if the young men in the lorry she’s traveling in ever find out that she’s a girl. And ultimately, as the strong young woman she becomes, who has endured far more than she could have ever imagined. I love her strength, her determination, her ability to adapt, her generosity, and humanity. And the fact that she never gives up on her dreams. She fights till the very end and she never takes the easy way out, even though ‘easier’ paths present themselves during the journey. She is someone I would aspire to be.

“It’s a very interesting and emotionally complex journey to go on as an actor, not to mention physically as well. It’s also interesting to see the dichotomy between how she interacts with her family and later on in a collective of boys. It’s during this transition that she starts to understand that there are differences, some unfair ones, between boys and girls that she hadn’t fully realised before.”

“I admire Aaneseh’s wit, defiance and survival instinct,” adds Roman. “Don’t mess with Aaneseh, I say.”

As difficult as the subject matter undoubtedly is, Roman has found working on the play a rewarding and eye-opening experience. “A lot of our primary research is in the writing itself,” he explains. “Doc Andersen-Bloomfield’s play has specified links to media footage and news articles, so it was a good place to start. Doc’s writing also allowed us to try out different forms. There are elements in the piece to try out music, movement and mix media to challenge our creative minds. Also collaborating with wonderful designers, like original music composed solely for Little Did I Know by Elliot Clay and other wonderful creatives. And with Natali’s ‘no fuss, focused, head down, let’s just do it’ approach to negotiating scenes, I definitely learnt a lot about the current refugee crisis and had so much fun throughout developing this challenging play on its feet.”

He’s honoured, too, to be directing one of the top 3 plays in last year’s Bread and Roses Theatre Playwriting Award: “The Award is such a great vehicle for any writers who wants to have their stories developed and shown as a professional production. Directing a piece from the Top 3 play has been a wonderful experience. Kudos to The Bread and Roses Theatre for this opportunity.”

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… 😉