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Review: Tom Molineaux at the Brockley Jack Studio Theatre

Published on June 3, 2017January 6, 2018 by LizLeave a comment

Guest review by Lucrezia Pollice

Tom Molineaux is an extraordinary true story about boxing, gambling and friendship. About a man who fights his way to freedom, but remains trapped in the injustices of society. A boxing ring, two men and some period costumes; nothing more is needed to bring this narrative to life. Tom Green’s compelling writing flows fluidly in an extremely believable manner, bringing us back to London in the nineteenth century whilst never losing the audience’s attention. Directing with simplicity and beauty, Kate Bannister constructs an extremely pleasurable evening.

Nathan Medina skilfully plays the part of an African American boxer, born on the plantation in Virginia, with incredible force, leaving spectators astounded. Tom Molineaux is strong, powerful and will not stop until he beats everyone. Before the play begins, Tom is cherished in America for winning his master a great deal of money, which releases him from slavery and wins him freedom. It seems like nothing will bring him down, his determination and ambition to become world champion is too strong. He manages to convince the English champion Tom Cribb, who is retired, to fight him.

However, the play is not only about boxing, it is about so much more. About injustice, prejudice, loyalty and addictions. The story is narrated by another incredibly talented actor, Brandon O’Rourke, who plays Pierce Egan, a sports journalist who befriends Tom when he arrives to London. Pierce allows us to see the honest emotional turmoil which is present under Tom’s muscles and strength. Unfortunately, this is not a happy story. It is a true story. Will the former slave manage to gain his victory and make millions, or will he be crushed to the bottom by society’s injustice and greed?

The performance is highly physical. The set is dark and misty. A seriousness in tone is most commonly present, but lighthearted moments are present too. One of my favourite moments is when Tom and Pierce come back drunk from a night out in 19th century London. The atmosphere transports you and allows one to imagine the streets of London back then, thanks to the accurate descriptions. Unfortunately, Tom and Pierce’s friendship is put to the test. Molineaux fights Cribb but the match is flawed, and Pierce knows. Will Pierce decide to lose the money he has bet on Cribb; or will he convey the truth and tell the world that Molineaux is the world’s biggest champion? Will Pierce fight the system or will Molineaux be representative of our unjust post-colonial society?

Courageous, powerful and human, this brilliant play packs a punch in more ways than 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… 😉

Review: Contactless at The Hen and Chickens

Published on June 1, 2017July 22, 2018 by LizLeave a comment

Nothing sums up the British quite like our relationship with public transport. It’s a world full of unspoken rules, which we like, and we reserve the right to be furious – silently, because we’re British – when those rules are not observed. Because there’s no chance of escape, the most insignificant moment becomes a massive deal, whether it’s the person next to us having a loud phone conversation, the cute stranger opposite catching our eye for the briefest of seconds, or the agony of trying to figure out if someone’s pregnant or not.

These are all moments anyone who spends any time on the London Underground can relate to, and they make up the backdrop to Tom Hartwell’s new comedy, Contactless, which takes us inside the world of the Tube to meet annoying passengers, overenthusiastic station announcers and even the original voice of “Mind the Gap”, Peter Lodge. These characters appear in a series of sketches that take recognisable situations and stereotypes to comical extremes (one of my favourites was the night tube, where passengers are tucked in with a blanket and hot chocolate while the driver reluctantly reads them a bedtime story).

While these characters are familiar to us, they’re all fictional – but Contactless also draws on historical fact and current affairs in the development of its main plot threads. Besides Peter Lodge, the sound engineer who inadvertently became the voice of the Underground, we also meet Emma Clarke, the voiceover artist who eventually replaced him, only to be sacked for comments that appeared to criticise the Underground. Meanwhile, a hapless union rep tries to reach an agreement in the tube strikes over ticket office closures and night working, and Peter’s widow Susan – who still works at Embankment 30 years later – struggles to keep up in a constantly changing world of progress and technology.

Directed by Phil Croft and performed by a versatile cast of six (Adam Elliot, Rosie Edwards, Hannah Jay, Jeryl Burgess, Stanton Cambridge and Will Hartley), the show’s style is reminiscent of spoof documentaries like Twenty Twelve, affectionately poking fun at a British institution that we love to complain about, but also wouldn’t want any other way (I kept half expecting David Tennant’s voiceover to start). The scenes referencing the strikes, while undoubtedly some of the funniest, also make a sharp political point; as union rep Rachel faces off against an army of incompetent and – in one case – sleazy civil servants, there’s never any doubt whose side we’re meant to be on, even before the hilarious first date scene in which a striking tube driver hammers home the main points of their argument.

There’s a further case against progress for the sake of it in the story of Susan, an unexpectedly poignant diversion inspired in part by Margaret McCollum, the widow whose pleas saw her late husband’s voiceover reinstated at Embankment. Ultimately, Hartwell’s message seems to be that the Tube is about people far more than processes. Drivers, passengers, station staff and yes, even the voiceover guys and girls come together to form a tapestry that’s rich with comic potential, and makes this cherished British institution what it is, in a way iPads and driverless trains never will.

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: Evita at the Orchard Theatre

Published on May 31, 2017August 6, 2017 by LizLeave a comment

Sometimes it’s a bit of a shock to realise how long the shows I grew up with have been around (which in turn makes me feel old… but let’s not go there). While Evita – written by Andrew Lloyd Webber and Tim Rice in 1976 and first performed in the West End two years later – isn’t one I saw on stage until my 20s, I do remember watching the movie version starring Madonna and Antonio Banderas all the way back in 1996. Back then I didn’t necessarily follow all the political context of the story, but I loved the music and was fascinated by the rags to riches tale of a teenage girl from a rural town, who rose to become First Lady of Argentina and “Spiritual Leader of the Nation” – only to die from cancer at the age of just 33.

Now Evita is back on tour, and bringing the story of Eva Perón, second wife of Argentine dictator Juan Perón, to a new generation. Starring Wicked‘s Emma Hatton and Italian actor Gian Marco Schiaretti – who recently played Tarzan in Stuttgart – this lavish production from Bill Kenwright is both entertaining and educational, a love story with added politics, and a great deal of style. And whether or not you follow all the ins and outs of Argentine history, it’s a fascinating insight into how a celebrity with no knowledge of politics can power their way to the top by sheer determination. Which makes you wonder if we’ll all be watching an equally tragic – for different reasons – show about Trump in 40 years’ time (if so may I suggest a working title of Covfefe: The Musical).

Not entirely surprisingly, West End star Emma Hatton gives a commanding and vocally flawless performance, just as much when Eva’s crumpled on the ground in the last days of her life as when she’s at the height of her power, performing the show-stopping Don’t Cry For Me Argentina to an adoring crowd. Alongside her, relative newcomer Gian Marco Schiaretti more than holds his own as the omnipresent Che, hitting just the right mix of Latin charm, arrogance and helplessness – and some impressive, not to mention unexpected, high notes. The two have excellent support from Kevin Stephen-Jones as Perón, Oscar Balmaseda as Eva’s first lover (and ticket to the big city) Magaldi, and Sarah O’Connor as the unnamed Mistress, a seemingly minor character who nonetheless wows the crowd with one of the show’s best-known numbers, Another Suitcase in Another Hall.

With Bill Deamer’s lively choreography that takes inspiration both from the Latin American setting and the oppressive atmosphere of a military dictatorship, and an imposing set designed by Matthew Wright, Evita transports us to 1940s Argentina in a dazzling and fast-moving spectacle that only begins to slow down when its protagonist does. 40 years old the show may be, but the passion and energy of this production prove there’s plenty of life in Evita yet.

Evita is at the Orchard Theatre until 3rd June then continuing on tour.

Review: Legends: Monsters, Mead & Mayhem at Blue Elephant Theatre

Published on May 26, 2017January 6, 2018 by LizLeave a comment

If you hear the name Thor and think of Chris Hemsworth (and let’s be honest, who doesn’t?), you may be in for a shock at the Blue Elephant this week. Having previously tackled the Arabian Nights and Greek mythology, Hammer & Tongs Theatre have now turned their attention to the Vikings. Legends: Monsters, Mead & Mayhem is a fast-paced and very funny tour of the nine worlds of Norse mythology, in which elves dance unwary travellers to death, Thor keeps losing his hammer, and dwarves like to murder visitors and turn them into beverages. All of this is watched over by the guardians, armed with a pair of magic binoculars, who have the thankless task of keeping the peace, whilst drinking a lot of tea and sorting the mail.

Written and directed by Jennifer Rose Lee, this work in progress may be at an early stage in its development, but it’s already shaping up to be great fun for the whole family. Three actors (Oliver Yellop, Charlotte Reid and Philippa Hambly) play all the parts – so many I lost count – with a variety of accents from American to Brummy to Scottish, and with music and some occasionally rather too graphic sound effects supplied by George Mackenzie-Lowe, who’s installed in a corner for the duration of the show. Though the actors themselves seem occasionally on the verge of laughter, they all give energetic and enjoyable performances, keeping each role distinct from the next and somehow managing to keep up with the rapid pace of the story.

Though it’s essentially a sketch show, dropping in on all the different worlds and their eccentric inhabitants but always returning to the three guardians at the centre, there is a main plot thread linking everyone together. This revolves around the story of a poet created by the gods, whose skill makes him famous throughout the nine worlds… but he’s about to discover that fame isn’t always a good thing.

Perhaps we could have lingered a little longer on some of the stories; the show’s certainly entertaining enough that it can stand to go beyond its current 50 minutes, and though transitions between scenes are smooth, the brevity of some of the sketches currently means the show feels a little bit choppy. The characters are well-drawn and intriguing, deliberately going against our expectations; we have a friendly sea monster, inelegant elves – and Thor, who’s not only definitely not Chris Hemsworth, he’s also not the sharpest knife in the drawer, bless him. This subversion of what we think we know about Norse mythology supplies most of the dry humour of the evening, and makes me wish not only that the show was longer, but also that I’d seen what Hammer & Tongs did with the more familiar world of Greek legend in their previous production, MYTHS.

This family show reminds me a little of Horrible Histories, in that it’s definitely not based in any kind of fact, but still gives the audience enough info to whet our appetites and make us want to learn more, whilst keeping us well and truly entertained. Already a lot of fun and with great performances from an engaging cast, I look forward to seeing how the show develops from here.

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: Sasha Regan’s All Male The Mikado at Richmond Theatre

Published on May 26, 2017January 6, 2018 by LizLeave a comment

Following the triumph of last year’s HMS Pinafore, Sasha Regan and her boys are back with a new adaptation of Gilbert and Sullivan’s The Mikado. Transporting the story of Yum-Yum, Nanki-Poo, Ko-Ko and friends from Japan to a campsite in 1950s England, the show continues the signature blend of charm, humour and surprising (in a good way) vocals that’s proved such a winning formula in previous productions.

Shortly before the show began, I heard someone in the row behind hinting that they might start singing along, which served as a helpful reminder that The Mikado is a wildly popular and well-known show. (He didn’t sing along, by the way.) However, to me it was entirely new, and I could hardly have asked for a more unconventional – or enjoyable – introduction to an already quite bizarre little tale.

For the similarly uninitiated, here’s a brief summary: Nanki-Poo (Richard Munday), the son of the Mikado (James Waud), has run away from the prospect of being married off to the elderly Katisha (Alex Weatherhill), and disguised as a wandering minstrel has arrived in Titipu in pursuit of the young, beautiful Yum-Yum (Alan Richardson). Unfortunately she’s about to marry Ko-Ko (David McKechnie), the recently appointed Lord High Executioner – but he has his own problems, as he’s been condemned to death for flirting and therefore faces the “extremely difficult, not to say dangerous” prospect of having to behead himself. Meanwhile, all the officials have resigned in protest over Ko-Ko’s appointment, leaving Pooh-Bah (Ross Finnie) to take on every other position of authority in town. Chaos, not surprisingly, ensues.

Sasha Regan’s inspiration for the all male format came from memories of same-sex school plays, and despite all the grisly talk of beheadings, The Mikado retains that air of childlike innocence and fun, particularly once the “ladies” enter – though I’d have to say the standard of the performance far exceeds any school play I was ever in. The production itself has the charming simplicity you’d expect from a school camping trip in the Enid Blyton era (Ryan Dawson Laight’s set is essentially three very versatile tents; Ko-Ko’s axe is a cricket bat; and the “orchestra” is musical director Richard Baker on the piano) – but there’s nothing amateur about the vocals. Unsurprisingly, in this department it’s the female roles that are particularly memorable, if only because it’s a surprise to hear men hit such high notes, and do it so beautifully. Alan Richardson and Alex Weatherhill steal the show as Yum-Yum and Katisha with heartfelt and vocally on-the-money solos, but also very believable performances as lovesick women – though Katisha’s vigorous pumping of her bicycle tyres suggests it may not necessarily be love that she’s after.

Whereas the female characters in this production usually get a laugh just by being on stage (as the curtain rises on Act 2, we catch them indulging in a pre-wedding makeover – and possibly enjoying themselves a bit too much), most of the comedy within the plot itself falls to the men. This is particularly true of David McKechnie, whose Cockney rogue Ko-Ko – along with Ross Finnie’s self-important Scottish bureaucrat Pooh-Bah and Richard Munday’s endearingly bewildered Nanki-Poo – handles some tongue-twisting lyrics with great aplomb and spot-on comic timing as he attempts to talk his way out of his fate. And if his “little list” isn’t particularly topical, it’s still great fun (and besides, it’s not like most of our politicians really need any help in looking ridiculous just now).

It seems likely that Sasha Regan and her talented company have another hit on their hands. If you’ve never seen The Mikado before, this is a thoroughly entertaining – if quite mad – first look; if you know it well, it’s a refreshingly different take that makes Gilbert and Sullivan’s classic feel brand new.

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… 😉