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Review: Scripts for Supper at the London Cooking Project

Published on March 4, 2017January 6, 2018 by Liz1 Comment

When I was chatting to MasterChef semi-finalist Annie McKenzie last week about her new theatrical dining experience, Scripts for Supper, she told me it was about “feeding people, getting them drunk and telling them a good story”. This perfectly sums up the festivities last night (and again tonight) at the London Cooking Project in Battersea, where I think it’s fair to say an excellent time was had by all – and not only because the alcohol was flowing freely throughout.

I don’t mind admitting I was a bit nervous to be turning up solo – sitting by yourself in a dark theatre is one thing, going out for dinner is quite another. But those fears didn’t last long; after a warm welcome on the door, I was handed the first of many, many drinks and adopted on to a lovely table just in time to enjoy the delicious canapes.

Now, I’m no food critic (or indeed MasterChef judge) so you’ll have to forgive my uneducated terminology and just take my word for it that the Elizabethan inspired five course feast, prepared by Annie and sous chef Alice Devine, was incredible. As someone who can be a bit of a fussy eater, I ate everything that was put in front of me and would have happily gone back for seconds of all of it. It’s hard to choose a favourite – contenders include the cheese on toast starter and the pork with mustard, leeks and caramelised shallot main course, but I think the dessert – vanilla parfait with rhubarb and rosewater jelly and Shrewsbury mille feuille – just stole the crown for me. Every course was accompanied by a fresh drink: cocktail, white wine, red wine, ale, more wine… I doubt mine was the only sore head this morning, but it was totally worth it.

And as if all this wasn’t enough, there was also theatre, as between courses the cast took off their aprons and presented scenes from Twelfth Night for our entertainment. Directed by Alex Payne, this version wisely discards the complicated Malvolio side plot (as much as I love that bit, we’d still be there now if we’d tried to get through everything) and focuses solely on the central love triangle between Viola/Cesario (Clio Davies), Orsino (Damien Hughes) and Olivia (Alice Trow), with Sebastian making a brief but necessary appearance at the end in the form of a wooden spoon. So it’s less Twelfth Night and more the edited highlights, but with enough continuity – and a bit of helpful explanation – to keep track of what’s going on. There’s also musical accompaniment throughout the evening from Edo Elia, who drifted around the room chatting to the guests while his fellow cast members were serving, looking like he was having the best time ever.

It really was a fabulous night – theatre, wine, good company and great food combining to create something pretty special. It’s also in a very unique venue; the London Cooking Project is a new private social enterprise hidden away in the middle of a housing estate in Battersea, with an open plan kitchen and dining area perfect for an intimate gathering like this one. Above all, the evening was a reminder that theatre doesn’t have to exist in its own little box, and is something that should be experienced and shared, not just seen.

Whether you’re a fan of food, drink, theatre, or all three, grab your tickets while you can for tonight – and here’s hoping there’ll be many more opportunities to check out Scripts for Supper 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… 😉

Review: Thisbe at Gerry’s, Stratford East

Published on February 25, 2017January 6, 2018 by Liz1 Comment

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… 😉

Interview: Annie McKenzie, Scripts for Supper

Published on February 23, 2017July 22, 2018 by LizLeave a comment

A little over a year ago, I was reviewing Annie McKenzie’s solo show Happiness is a Cup of Tea at the 2016 VAULT Festival. Since then, life’s changed a bit for Annie; a few months later, she was performing for a very different audience on her way to becoming a semi-finalist in the 2016 series of BBC’s MasterChef. And now she’s bringing together her two passions in new project Scripts for Supper, which launches in Battersea next week.

“Scripts for Supper is a theatrical dining experience that combines food and theatre in the only way I know how – by feeding people, getting them drunk and telling them a good story,” she explains. “Be that Shakespeare, Chekhov, Lorca or Beckett – it’d be the same, but we choose our food, plays and vices as carefully as possible.”

For her first production, Annie’s chosen one of Shakespeare’s best-loved comedies, Twelfth Night. The reason? “‘If music be the food of love, play on!’ Need I say more?”

The play will be accompanied by a five-course dinner, with a cocktail and canapés upon arrival, and a menu specially designed for the occasion. “It’s inspired by Shakespeare and Elizabethan England, but has me written all over it,” says Annie. “I cook food that people want to eat. Things that make people go: YUM! You can expect cockles, brown shrimps, pork, potatoes, rhubarb, cheese, cream, booze, booze, booze and a lot more besides! Oh – and did I mention booze?”

The project is a collaboration with Battersea’s London Cooking Project: “My lovely friends Billy and Jack of MasterChef 2016 final fame have done a few fabulous evenings at The London Cooking Project, which is how we came to be put in touch with them,” explains Annie. “If I’m honest though, I think it was pure luck and a bit of serendipity that led to us teaming up. I can’t tell you how wonderful Emma and the team at LDN Cooking Project are. Please look on their website to find out about all the incredible community projects that they’re up to.”

The idea to bring together food and theatre has been brewing for some time, and Annie’s excited about the prospect of combining two of her favourite things. “I had the idea that I wanted to create something with food and theatre ever since I was on MasterChef – it just took a long time to develop it and make it into a reality. It means a huge amount, of course. I’m giving everything I have to this project and am working with people I love dearly. It might be weird not to be ‘acting’ – but I am, in a way… I’m still on show… well, my food is.

“There have been many wonderful projects recently around theatre and food – Faulty Towers, Les Enfants Terribles – let’s just hope my idea can be a contender.”

Catch Scripts For Supper Present… A Retelling of Shakespeare’s Twelfth Night at the London Cooking Project on 4th March.

Interview: Joe Bromley and Willow Nash, Really Big Pants Theatre

Published on February 23, 2017July 22, 2018 by LizLeave a comment

“There’s just the two of us, and we came together after years of knowing each other as friends, then working together in a sketch show and various acting jobs. And then we thought, shall we bring all our vast experience together – of writing, performing, working with children (and having them) – and see what happens? And we decided our shows would all have themes that we both cared deeply about: literacy, the environment and a healthy body image.”

Joe Bromley and Willow Nash are co-founders of the Really Big Pants Theatre Company, creating shows that celebrate and encourage literacy for primary age children. “We encourage children to learn to read through our love of stories. A character in SUDDENLY…! doesn’t want to do his story homework at the beginning because he thinks he’s no good at them, but by the end he’s got a great idea for a story and can’t wait to write it down. We believe storytelling is an excellent gateway into encouraging reluctant children to learn to read.” But the shows aren’t just fun for kids: “We’ve had wonderful feedback from parents and teachers alike, telling us how much they enjoyed the show alongside the children, and appreciated the morals.”

They’re performing their latest show, SUDDENLY…! at schools, arts centres and community venues, and describe it as “a story within a bedtime story, twisting traditional tales and featuring fairy tale characters as you’ve never seen them before. It’s an interactive adventure full of excitement, danger, friendship, forestry and the perils of bad manners and too much stuff!”

SUDDENLY…! has also been adapted as an audiobook, recorded by Joe and Willow, and described by the Kentish Towner as “non-stop adventure featuring delicious wordplay”. The ladies explain, “We were approached by a publisher and jumped at the opportunity to expand the world of the show, where it’s just the two of us playing all the characters with minimal props, and to bring in more descriptive language as well as the original dialogue. Audiobooks are becoming increasingly popular as a great way to enjoy a story as a whole family, and are inclusive for children who are struggling to read. We’re writing two new adventures for Grandma and Red, and hoping there will be print versions soon too.”

suddenly-cover — Illustration by Rosie Alabaster

With World Book Day coming up next week, Joe and Willow are looking forward to taking SUDDENLY…! into three primary schools to celebrate. “We love introducing children to the power of theatre and for some of them in schools, this will be the only chance they get to see a play. So our priority is making sure we provide great entertainment. And then we would like them to think about the messages in the play, such as being kind, trying your best, and friendship being more important than having lots of stuff. But we definitely want them to say afterwards, ‘I’m now going to read/write/make up my own story!’ and many of them do tell us that on their way out! We were beyond proud when, after seeing our show at his school, an eight-year-old boy went home and wrote his own book – complete with illustrations of us! – where our characters met the characters from the book he’d been reading. How brilliant!

“Another great moment was when we performed in a library for the Summer Reading Challenge, and a mother had brought her reluctant son to see the show, telling us he was not a keen reader at all. We kept an eye on him throughout – he started off with defensive body language, sitting slightly apart from the other children, but we watched him grow and grow in enthusiasm and join in and really get involved, and at the end he came up to us and said he wanted to take a book out of the library and try and read it. Hugely rewarding. We also love it when children in schools line up to fist bump us before heading off to their classrooms and ask us when we’ll be back! So many highlights, and always a joy to be on stage and see a sea of happy faces.”

And where do pants fit into all this?! “During rehearsals for PLUNDERED!, our show about the environment, we were working on a scene where our characters have to disguise themselves as pirates, and we decided they would rummage through a trunk of old clothes and find some really big pants. Hysteria kicked in and we rolled about laughing, like the true professionals we are. After months of formal deliberation over what we should call the company, the name finally came from that daft moment. But we use the pants in all our shows in one way or another – look out for them!”

To find out about future performances of SUDDENLY…! or to book Really Big Pants for a show, visit their website: www.reallybigpants.co.uk

The SUDDENLY…! audiobook is available from Waterstones and The Owl Bookshop.

Interview: Catherine Lomax, Gordon Craig Theatre

Published on February 22, 2017 by LizLeave a comment

It’s nearly Easter, and at the Gordon Craig Theatre in Stevenage that means one thing: a new family musical. This year, it’s a fresh take on classic fairy tale Rapunzel, featuring original songs and brand new characters created by Catherine Lomax, Phil Dennis and Khiley Williams – and it’s proved so popular that extra dates have already been added for later in the year.

“Rapunzel was one of my favourite stories when I was a little girl, so following the success of last year’s Easter Musical, Alice in Wonderland, we knew we wanted to select another literary classic or fairy tale, and Rapunzel instantly came to mind,” says Catherine, who’s also directing the show.

“Everyone knows the basic story of Rapunzel but Phil, Khiley and myself loved the idea that we would have freedom to create a whole host of characters to develop the story. We all read as many different versions of the fairy tale as we possibly could and then discussed what we loved the most; we were really keen on creating a production that appealed to children but also entertained parents and adults, and I don’t doubt that’s what we have created. The story may be a classic fairy tale, but we’ve created characters with lots of one liners for the parents so that they can enjoy their trip to the theatre just as much as their children!”

The show tells the story of Sophia and Karl, who are desperate for a child of their own. “One night Karl breaks into Gothel’s garden looking for a herb that will help his wife fall pregnant,” explains Catherine. “Gothel discovers Karl and agrees to help him but on one condition – Gothel must be given the child when she turns sixteen years old! Desperate Karl agrees to the demand and so on his daughter’s sixteenth birthday, when Gothel arrives to stake her claim, Karl and Sophia are powerless to defeat her.

“Two years pass with Rapunzel locked away in a tower, with only a bird, Viktor, for company. Despite using her imagination to create adventures in her head, Rapunzel longs to be outside having adventures of her own. Fortunately Prince Freddie overhears her singing and discovers her trapped in her tower, but can he – and true love – save the day?”

Catherine’s loved joining forces with Phil Dennis and Khiley Williams again: “We’ve all worked together as creative teams on various musicals and pantos over the last five years. It’s quite a privilege to work with your best friends and create something you are truly proud of.”

She’s also more than a little excited to be working with the show’s recently announced cast. “Samantha Noel will be playing Rapunzel; she has a fantastic voice and a real warmth and friendliness that definitely comes across on stage. She is the perfect Rapunzel and we all fell in love with her at the audition. Craig Armstrong and Cameron Leigh are two of the most versatile performers who have both worked at the GCT before, they’re back for Rapunzel and I don’t doubt that their larger than life characters will make this show sensational!”

Catherine’s been resident director and producer at the Gordon Craig for seven years, having moved into the role after running her own touring production company. “I think the Gordon Craig is unbelievably special because of the people who work here. Our backstage crew are fantastic, they will explore every option possible to make sure all of our shows are the very best they can be. The FOH teams, Box Office, Marketing department and all of the teams really get behind all our projects.

“And we’re only 20 minutes from Kings Cross, which does mean audiences can just as easily travel to shows in the West End – but it also means we get some fabulous stars who discover the Gordon Craig is really commutable.”

The Easter run of Rapunzel at the Gordon Craig Theatre has already sold out, but tickets are now on sale for additional dates 27th-30th July. Get them while you can…