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2017 theatre highlights

Published on December 31, 2017January 2, 2018 by LizLeave a comment

It’s almost the end of another year – so here I am sneaking in, as ever, just under the wire with my highlights of 2017 post. This is always a great excuse to look back on all the shows that I’ve seen in the last twelve months and reflect on the ones that really made an impression.

Quick disclaimer: there have been many shows that I saw and loved this year but that I didn’t review. If I included them all I’d never manage to narrow down the selection, so I’ve decided to focus on only shows I’ve written about (with one exception) for this post.

So let’s kick off with…

Most inspiring: Phoenix Rising at Smithfield Meat Market

A powerful drama produced by The Big House, an organisation that helps young care-leavers gain the confidence and skills they need to turn their lives around.

Read the review

Most bonkers: House on Haunted Hill at Leicester Square Theatre

More spoof horror mayhem from The Lampoons in their unique and entirely unpredictable remake of the 1959 Vincent Price movie.

Read the review

Most exciting debut production – Flood at Tristan Bates Theatre

The first outing for newly formed Paper Creatures was a funny, heartwarming story by Tom Hartwell about what happens when we leave home – and when we don’t.

Read the review

Most exciting debut performance – Will Pinchin, Frankenstein at the Brockley Jack Studio Theatre

After years working with Arrows and Traps as Movement Director, Will Pinchin made a captivating (and long-awaited) stage debut this year as The Creature in the company’s production of Frankenstein.

Read the review

Most heartwarming – Rapunzel at Chickenshed

A last-minute entry for Chickenshed’s festive show, which features a cast of 800(!) young people, all obviously having the time of their lives. The irresistibly feel-good show continues until 6th January so there’s still time to grab a ticket.

Read the review

Most original – I Know You Of Old at The Hope Theatre

The text of Shakespeare’s Much Ado About Nothing, ingeniously rearranged by David Fairs of Golem! into a completely new and gripping story, with a killer twist at the end.

Read the review

Most emotional – In Other Words at The Hope Theatre

This love story of a couple torn apart by Alzheimer’s had me in bits, largely thanks to devastating performances from Off The Middle’s Matthew Seager and Celeste Dodwell.

Read the review

Most delicious – Scripts for Supper at the London Cooking Project

Former Masterchef semi-finalist Annie McKenzie launched her new theatrical dining experience, a delicious five-course meal served around excerpts from Twelfth Night. We ate, we drank, and we were (very) merry.

Read the review

Most likely to change the world – HerStory

Now in its second year, the feminist theatre festival created by Nastazja Somers continues to go from strength to strength, with each instalment presenting a new selection of powerful pieces representing the female voice.

Read the reviews of HerStory 3 and HerStory4

Finally, a few honorary awards:

My Favourite Things – Paper Hearts at Upstairs at the Gatehouse

Books + theatre + love story + live folk music + actor-musicians. Need I say more? I still want that cast recording, by the way…

Read the review

Best Show That I Didn’t Review – Romantics Anonymous

Possibly the most charming show I’ve ever seen. It’s funny and relatable, with great music, and I loved every single thing about it. Also, free (magic) chocolate.

No review (obviously), but still time to book before it closes on 6th January.

Best One-off Production – Amicus presents The Exonerated at Middle Temple Hall

A harrowing but amazing performance of The Exonerated – a play made up of true stories about people exonerated from death row – featuring a cast of actors, lawyers and two death row exonerees, including Sunny Jacobs as herself.

Read the review

And honourable mentions to: The State of Things at the Brockley Jack; Antic Disposition’s Richard III at Temple Church; Turkey at The Hope Theatre; Mrs Orwell at the Old Red Lion Theatre; Miss Nightingale at the Vaults.

Happy New Year, and bring on 2018!

Review: Rapunzel at Chickenshed

Published on December 28, 2017January 6, 2018 by Liz2 Comments

If you thought Rapunzel was the story of a girl sitting in a tower waiting for a handsome prince to rescue her – think again. Chickenshed’s ambitious and heartwarming version of the well-known fairy tale is notable not only for its conspicuous lack of princes, but also for a heroine who more than knows how to take care of herself and the people she cares about. Nor is the story all about Rapunzel; we spend just as much time discovering the magical world in which she lives, and following her parents as they search ceaselessly and with unwavering – and ultimately rewarded – hope for their stolen child.

The story, written and directed by Lou Stein, begins in the attic of a house on the outskirts of London, where six children and their childminder Hazel fall asleep while reading stories. They’re spirited away into Hazel’s dream, in which she’s Rapunzel and has been locked in a tower by Gothel the Witch. These leaves her young charges alone in the woods, where they encounter many magical creatures, among them dryads, underground gnomes and hinky punks. Meanwhile, the Kind Kingdom ruled by Rapunzel’s parents is populated by artisans, royal servants, urchins and more.

When all these groups come together on stage in one of Dave Carey’s rousing ensemble musical numbers, it’s a pretty awesome sight. The total cast for the production numbers 800 (with four rotating teams taking their turn at different performances) and brilliantly showcases Chickenshed’s mission to create inclusive theatre. This show has a role for everyone, and though this means the story at times gets a bit confusing, the overwhelming enthusiasm from all involved is far more joyous to watch than a simpler plot or a smaller, more polished cast would be.

Which is not to say there isn’t a considerable amount of talent on display. Cerys Lambert is a feisty Rapunzel with a beautiful singing voice; Philip Rothery nails the physical comedy in his role as Henry the clumsy woodsman; and Gemilla Shamruk steals the show at the end of Act 1 with Gothel’s dramatic solo number, Don’t Mess With Me. The show also features signing throughout, incorporated seamlessly into the performance of Loren Jacobs and Belinda McGuirk as dryads, and a fantastic band tucked away at the back of the stage.

Nor is it accurate to say this production isn’t polished – managing a fairly complicated plot whilst getting that many children on and off stage with a minimum of fuss is no easy task, yet somehow everyone always ends up in the right place at the right time. This is in no small part thanks to Lucy Sierra’s brilliantly inventive set, which is riddled with secret trap doors, balconies and hidden tunnels, allowing multiple ways in and out so that the action can always keep flowing.

The show is advertised as “Rapunzel as you’ve never seen her before!” and this production certainly delivers on that promise. Along with a magically entertaining story, enjoyable solo performances and toe-tapping tunes, this version sends us away with three particularly powerful messages: look out for each other, don’t fight, and never give up hope. Most importantly, it’s all performed by a passionate, diverse cast whose joy is infectious and truly uplifting. This was my first visit to Chickenshed – and I hope it won’t be the last.

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Interview: David Burt, A Christmas Carol

Published on December 23, 2017July 20, 2019 by LizLeave a comment

Antic Disposition’s critically acclaimed production of A Christmas Carol returns to Middle Temple Hall this festive season, with Olivier Award nominated star of the West End David Burt in the lead role of Ebenezer Scrooge. Adapted for the stage by Antic Disposition’s artistic directors Ben Horslen and John Risebero, the show combines Charles Dickens’ classic tale with a score of original songs inspired by the carols of a traditional Victorian Christmas.

“It may sound strange but I feel quite affectionate towards the old grump. He’s like an old friend now!” says David, who’s returning to the role of Scrooge in this production for the third time. “People sometimes think of the character as a bit one dimensional, but for me there’s always something new to discover. Dickens describes him as being ‘as solitary as an oyster’ and you have to ask yourself what sort of experience can drive a person to shut themselves off from the rest of the world as completely as Scrooge has done. That’s really interesting!”

Over 170 years after it was written, A Christmas Carol remains one of the world’s best-loved festive stories. David believes this is largely due to its continuing relevance: “One of the most brilliant things about the story is the way it combines a celebration of Christmas with a cautionary tale about what happens if we don’t respect its message,” he explains. “The need for love, charity and understanding remains as strong today as when Dickens wrote the book in 1843.”

The return of A Christmas Carol marks the end of another successful year for Antic Disposition, whose recent productions include cathedral tours of Henry V and Richard III. “It’s such a friendly company, and several of the actors have been doing this show as long as I have, so getting back together is always fun,” says David.

Although this is the fourth outing for the show, which was previously performed in 2012, 2014 and 2015, this time around it’s been revised and expanded for performance by a cast of actor musicians. David believes it’s this musical aspect of the production that makes it stand out from the crowd. “This year there’s new music, and more of it – and this time the actors are playing instruments as well as the band. I think the music is what really lifts this version. It’s all played and sung live and really conjures up a Christmas atmosphere. Plus there are a couple of new bits of stage business this time that I won’t spoil for you!”

In addition, the show is performed once again in a unique and stunning venue – London’s Middle Temple Hall. “There’s a direct connection to Dickens, which makes it pretty special – he trained there to be a barrister,” David explains. “But it’s also just such a beautiful building, steeped in history, it always feels quintessentially Christmassy here.“

Review: The Wolves of Willoughby Chase at Brockley Jack Studio Theatre

Published on December 21, 2017January 6, 2018 by LizLeave a comment

The Jack Studio is bringing 2017 to a suitably wintry close with their production of Joan Aiken’s classic children’s novel The Wolves of Willoughby Chase, adapted by Russ Tunney and directed by Kate Bannister. The story of two plucky young girls taking on their villainous governess, this thrilling adventure is presented with tongue firmly in cheek, and is all the more enjoyable for it.

When Bonnie Green’s wealthy parents leave for a long sea voyage, she and her orphaned cousin Sylvia are left in the care of their new governess, the sinister Miss Slighcarp. Aided by a mysterious stranger Sylvia encountered on the train to Willoughby Chase, it’s not long before Miss Slighcarp has set in motion a dastardly plot to steal the Willoughby home and fortune. But her two young charges are not so easily defeated, and fight back with help of their own from an eccentric assortment of characters, some secret passages – and a couple of geese.

The wolves of the title, meanwhile, are noticeably absent; we are, however, pointedly informed that they came from Eastern Europe, through the newly constructed Channel Tunnel, and have taken over the English countryside. Despite this, their menacing presence is always more of an implied than an actual threat – we only actually see the wolves once in the whole play, though they’re often mentioned – while, as it turns out, the greater danger comes from within.

The production is spookily atmospheric throughout, thanks to excellent work from designers Karl Swinyard (set), Ben Jacobs (light) and Jack Barton (sound). Despite a dramatic opening, however, within minutes it’s become clear that this is not a show we’re supposed to take terribly seriously. Largely, this is thanks to the casting of Adam Elliott as the deliciously wicked Miss Slighcarp (among several other roles). With a permanent sneer of disdain and absolutely no redeeming features whatsoever, she’s a proper villain we can really love to hate, along with her comically absurd partners in crime Mr Grimshaw and Mrs Brisket, both played – again, among several others – by Bryan Pilkington. It’s all a little bit panto (there’s even a bit of audience participation), especially towards the end as events grow increasingly chaotic, but that just adds to the fun. And it is Christmas, after all.

As often happens in panto, the good guys inevitably end up playing it a little straight next to their larger-than-life adversaries. That said, Rebecca Rayne as Bonnie, Julia Pagett as Sylvia and Andrew Hollingworth, who plays footman James and the girls’ friend Simon, are likeable, intrepid heroes, each of whom grows and matures as the story progresses. They’re also not without a mischievous twinkle of their own from time to time; I particularly enjoyed the two girls “skating” – and who can forget the cheese alphabet…

The show is an intriguing mix of classic children’s tale, spooky mystery and laugh-out-loud comedy – the sort of combination that sounds like it shouldn’t be possible but somehow works really well. There’s certainly never a dull moment, and it’s always fun as an audience member to see a cast who are not only talented performers but are also clearly having a great time themselves. If you’re expecting to see wolves, you may be a bit disappointed – but otherwise this is a show that delivers on every level.

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: Macbeeth at The Hen and Chickens

Published on December 16, 2017July 22, 2018 by LizLeave a comment

Red Squash Theatre’s Macbeeth is, as the title suggests, Macbeth – just not quite as we know it. In keeping (for the most part) with Shakespeare’s intended plot, the play is still as murdery as ever; the difference is in this version there are a lot more laughs, along with a distinctly North American sounding Macbeth, a very questionable beard, and a man called Derek. Oh, and there are just three actors playing – well, everyone.

As you might expect, it’s all extremely silly (in fact, a voiceover before the show warns us of “interpretations of Shakespeare some audience members may find infantile”) and more than a little chaotic – but before any Shakespeare scholars runs for the hills in horror, a word of reassurance: the three actors all clearly not only know what they’re doing, but do it very well. Though heavily edited to fit the whole story into just an hour, all the essentials of the script are there and delivered flawlessly by Rory Fairbairn (who plays all the witches, Duncan and Macduff among a multitude of roles), Holly McFarlane (Banquo, Lady Macbeth, Malcolm and more) and Alexander Tol (Macbeth, Fleance and others). It might be Shakespeare lite, but it’s very much still Shakespeare; the comedy aspect comes not from changing the story but from taking to extremes what’s already there.

This includes the characters – Holly McFarlane and Alexander Tol as the Macbeths in particular take their roles of bossy wife and cowed husband extremely seriously, and Rory Fairbairn’s kindly but blissfully oblivious King Duncan is also a hit – as well as the story itself, which is, after all, essentially one long killing spree based on the word of three strange women in the woods. But the majority of the humour springs from the production itself, which plays throughout on the multi-roling of actors, and the rudimentary set and props they have to work with (the appearance of dead Banquo at Macbeth’s feast is particularly creative). There are also a few jokes at the expense of the actors, which, Macbeth’s accent aside, aren’t really borne out in their very able performances – but this is a small quibble and certainly doesn’t mar the play’s unstoppable entertainment value.

If you’ve ever felt Shakespeare was a bit heavy, Macbeeth may well change your mind. While it undoubtedly includes some elements the play’s writer might have regarded with some suspicion (hello, magic eight ball) its heart is in the right place and the production still delivers on its promise of “95% actual Shakespeare”. Most importantly, it’s also great fun, bringing us organised chaos that doesn’t outstay its welcome and allowing its cast to showcase their talents for both comedy and tragedy. Highly recommended for an enjoyably silly night out.

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… 😉