Inspiring you to great things
Source: Alison Goldie Coaching
Forget pantomime, spurn West End musicals, turn your back on Christmas choirs – if you want glorious festive entertainment, book tickets for La Soirée.
The only downside (upside?) is that you won’t be taking the children. In a gorgeous Spiegeltent – all red plush and shiny wood and multi-coloured glass – a peerless ensemble of cabaret and circus performers present act after act of enormous skill and delicious mischief. To describe them in any detail is to spoil the great pleasure of being endlessly surprised. Suffice to say, you will not have seen trapeze, or clowning, or magic or pole-dancing done like this before.
The performers present a new envisioning of traditional skills, then season their dextrous physical displays with cheeky or downright filthy humour that has you spluttering into your drink. Sexual jokes are delivered in novel ways and with real style; the glee of taboo-breaking bonds the crowd in a complicity of grown-ups who know about such things, but seldom hear or see them expressed so boldly and with such wit.
Some characters are beautiful physical specimens – take a bow, The English Gents strongman act – others are freakish, like weirdly bendy nerd Jonathan Burns. Then there’s the singing clown, Puddles, who brings a moving poise and exquisite melancholy to proceedings, and the hilarious and multi-talented Ursula Martinez who has ‘bad girl’ written through her like a stick of rock. Other human marvels join them. The cast is international, and this and their great range of abilities make the bill of fare comprehensive and richly textured. With pumping pop music throughout, the show is a sensual extravaganza that also, given the warmth of the performers, feels friendly, even intimate.
Ten years since the debut of a version of this show at the Edinburgh Festival, this much travelled and universally enjoyed troupe are back at base in London. Grab a takeaway bite from the Southbank’s Christmas market, then hit the Spiegeltent bar, take your seats and prepare to be ravished.
After having seen a dramatic divertissement by the divine Noel Coward, it is frightfully difficult to desist from speaking in his wittily distinctive idiom. So much of the joy of Coward’s work is in the carefully tooled language, and at times his aphorisms, encapsulating the concerns of the milieu he so frequently portrays – British high society between the wars – achieve the greater height of universal truth.
This Was A Man written in 1925 by the precocious twenty six year old playwright, takes us to familiar, gorgeously attired, territory. Edward (Jamie de Courcy), a society painter, using one of his circle, Margot (Grace Thurgood) as a model, banters with her and reveals the moral territory: Margot despises marriage and wants affairs instead. Edward, reticent and troubled, is soon to receive confirmation that his wife Carol (Dorothea Myer-Bennett) feels the same. When Zoe comes to visit, we see Edward’s spirit’s rise: here is a woman he nearly married once, attractive and searingly clever, the two have remained great friends. Georgina Rylance gives Zoe satisfyingly languid elegance, pin-sharp diction and a Coward staple – a suggestion of a raised eyebrow whenever she has her defences about her. When her true feelings are revealed later, this eyebrow is dropped and Zoe’s face takes on a more contemporary cast: authentically vulnerable.
Edward’s other supposed great friend, Evie (Robert Portal) is a military man. Whenever Evie enters, we are cheered by the characterisation: his bullish determination to stick to an antiquated code of manners is beautifully and humorously captured by Portal in a rigid, pin-striped posture, pursed lips and a staccato delivery. He castigates Edward for not having a macho response to Carol’s infidelities, but soon proves that he cannot stick to his own principles in a clumsy failed attempt to right the moral universe.
Carol burns her way through the action with a callous disregard for male suffering. In this character more light and shade would have been welcome. As an early version of a type no longer unfamiliar or castigated (by sane people at least) – the woman who enjoys sex – director Belinda Lang could have rendered Carol more sympathetically. As it is, she is so hard-faced and scheming, we uncharitably wish for her comeuppance.
The Finborough have scored a notable coup in giving us the premiere of This Was A Man, which was (whimsically) banned by the Lord Chamberlain in the U.K. between 1926 and 1934, though it found an audience internationally. Definitely worth reviving, the piece has wise things to say about the complex negotiations of marriage and sex which ring true today now that we all have license to experiment as the toffs once did.
Lang’s production is remarkably sumptuous for the tiny theatre and sticks rigidly to a naturalistic interpretation (apart from the invisible pictures framed on the wall.) Surely it is time now to treat Coward’s drawing room dramas with less reverence? The pulsing subtext of betrayal and trauma would lend itself well to a more radical theatrical retelling.
On the walls of the staircase up to the Jerwood Theatre Upstairs are framed playbills advertising the original production of “Look Back in Anger” at the Royal Court in 1956. Osborne’s wail of lower-middle class dissatisfaction gave a voice to a formerly unheard section of society, and most critics and audiences were aghast at its squalid setting and anarchic values. Yet it transformed what was able to be seen in British theatre, and was one stimulus of a discourse that led to greater social awareness. It is a sign of the times that we are so accustomed to seeing plays, TV and film about the suffering of the outcasts of our hyperactive consumer society that “Pests” will be unlikely to have a similar impact. In a world without political inertia and compassion fatigue, Vivienne Franzmann’s extraordinary new play would deafen us with the sound of its alarm bells.
Twenty five year old sometime convict Pink lives in conditions that make Jimmy Porter’s bedsit look like a sumptuous palace. She whores for the cash to buy drugs, and life is a series of skirmishes with punters, dealers and the outside world in general. Her younger sister Rolly, freshly released from jail, heavily pregnant and determinedly clean, comes to crash in Pink’s ‘nest’. Rolly, though barely literate, has plans – she will get a job as a cleaner at a hotel in the country and life will turn around. Unfortunately, Pink has other ideas.
As Rolly’s precarious hold on virtue is severed by her sister, still holding a grudge against Rollo for her having had a home-life with foster parents whilst Pink had to make do with the abusive swamp of a care-home, the two waifs flail about in their filthy pit. What stops their plight being unwatchable misery is the flaring energy between the drug-bouts, exemplified by the remarkable heightened street-talk that Franzmann has crafted into a new type of 21st century English, an absurd – and funny – argot mixing the recognisable English/Afro-Caribbean patois of modern youth with nursery talk, off-beat cultural references and made-up words. After a couple of minutes of adjustment, it’s surprisingly easy to understand, yet it would have been completely unintelligible to “Look Back in Anger”’s crowd.
Ellie Kendrick as Rolly shows how a sweet unworldliness can be corrupted when it sits on shaky foundations: her performance tears at the heart. Sinéad Matthews’ Pink is a wired force of nature, with an energy that, in better circumstances, might have been harnessed for good. Along with Franzmann’s exuberant yet tenderly perceptive writing, the exceptional performances and Lucy Morrison’s pacey direction keep us mesmerised. I could have lived without the psychedelic video projections which were clumsily ‘symbolic’, and two scenes – the taking into care of Rolly’s child, and Pink submitting to sex with invisible men – were both too perfunctory. But I felt flayed afterwards, and I say that in high recommendation. “Pests” is a co-production between Clean Break Theatre Company, the Royal Court and Manchester Royal Exchange and will go on a short U.K. tour after its stint at The Court. If you want to see the state of modern theatrical social comment, don’t wait to book your seat.
This review was written for whatsonstage.com
The Young Vic has given a space to Theatre Uncut to present six short political plays, with no editorial input from its management. This is a great opportunity for Theatre Uncut’s producers and a commendable demonstration of faith on behalf of the theatre.
On the face of it, this is a noble enterprise. The plays are all available, for a limited time, to be played anywhere, with no royalty fees. Several international, as well as British theatres are currently producing their choice from this repertoire with the aim of spreading their messages far and wide. If only the plays on offer were of high calibre.
Neil LaBute’s Pick One has three American politicians discussing which ethnic group should be bumped off to improve society for the white majority. The premise is so absurd as to be risible, and the fact of America having a black president ignored. This is lazy, silly writing. Amanda by Kieran Hurley is a pseudo-poetic whine by a politician who is finding her job hard work. Her idealism has slipped and, lounging in her comfortable home, she is finding work overwhelming. This does identify a modern conundrum, but the piece doesn’t earn its place as political theatre.
Mark Thomas’ Church Forced to Close its Gates after Font used as Wash Basin by Migrants (phew) brings some entertaining wit and a narrative at last. An amoral newspaper proprietor is held captive by his organ’s cleaners on behalf of the migrants he persecutes in his pages. There is a Dario Fo-esque brio here, but Thomas’ exuberant real-life work in leading demonstrations outside tabloid newspaper offices and other dens of corruption is a better call to action than this sketch. To his credit, Thomas, in a post-show ‘discussion’, pledges to rewrite the piece to enhance its immediacy. The rigour in his wish to improve his work would have been welcome in the evening’s output as a whole.
Recipe by Rachel Chavkin is incomprehensible, sub-Brechtian tosh. The Wing by Clara Brennan features a working class father and his university-educated daughter squabbling about important contemporary issues, and contains some proper meatiness, but the transformation of his right arm into a wing as he defends his joining of the EDL (geddit?!) is laughably crass. Finally, Capitalism is Crisis by Tim Price is easily the most interesting piece, examining the downsides of the Occupy initiative at St. Paul’s, and the perils of lack of leadership for modern movements for change.
Theatre Uncut have appropriated the moniker of a crusading group who are serious about addressing the inequalities and injustices of a selfish political system. On this evidence, and to deserve the ‘Uncut’ name, they need to find writers who can address these crucial topics with significantly more sophistication than most of this batch, with some stimuli for real, plausible action to counteract corporate and political wrongs. All of the performances, incidentally, are first-rate.
This review was fist published on whatsonstage.com
I approached this night of Victoriana with trepidation, afraid that the humour would not travel well into the 21st century, and concerned that farce is often fumbled if the players are not physically dexterous and rigorously directed. Three writers are represented here: John Madison Morton with Box and Cox and A Most Unwarrantable Intrusion, William E.Suter with Wanted, A Young Lady and Joseph Stirling Coyne with Duel in the Dark. Each of them is set in a classic Victorian room, distinguished here by the actors manoeuvring screens and stuffed furniture into different arrangements.
Box and Cox was hugely successful in its day. It has the engaging premise that a landlady, Mrs Bounce (a Victorian Mrs Overall) has rented out the same room to two different men, Box and Cox, one who works a day shift, and one who works a night shift. One day, Cox is given the day off work and the two of them occupy the same space at the same time unwittingly until the truth is revealed, after which they discover they have many other things in common (including a girlfriend), with coincidence piling on coincidence in classic farcical fashion.
Wanted, A Young Lady features a dastardly rakish son falling for a ladies companion, aided and abetted by a drunken, cross-dressing servant. In A Most Unwarrantable Intrusion, Mr Snoozle, smug and middle-class, looks forward to a day of peace, without family or servants. Then a man tries to commit suicide in his garden pond, and, after saving him, Snoozle finds his house invaded by an apparent lunatic who dunks a muffin in the goldfish bowl, steals his snuffbox and tries to become his heir. Duel in the Dark concerns a suspicious wife who disguises herself as a French countess to entrap her errant husband on a trip to Dieppe, and includes a man playing a maid, and the aforementioned wife playing a love-rival for herself. It climaxes in a shoot-out.
All four playlets have similar elements: misunderstandings, disguises, double-crossings, accelerated comic escalation and boisterous action. The three performers, Richard Latham, Asta Parry and John O’Connor, throw themselves into their roles with madcap glee, expertly giving life to the stereotypes, and playing the slapstick with cheeky knowingness.
Director Jonathan Kemp understands his material well, and has instilled the discipline into the actors that farce needs. The language of the time is well worth savouring: a man is ‘frantically attached’ to his intended; a girl is ‘deucedly pretty’; and a fat chap is ‘an extensive creature’.
This is a very entertaining evening, fascinating for students of theatre history, but also enjoyable on its own terms. An added bonus is that Wilton’s are giving nightly prizes to audience members in the best Victorian costume – another way you could join in with the spirit of these surprisingly unstuffy Victorian forebears.
This review was commissioned by whatsonstage.com
The premise is simple: Mimi (Rebecca Northan) is an attractive Frenchwoman who has been stood up on a blind date, and so decides to choose a man from the audience to replace him.
The show uses a small set of prepared locations – café, car, lounge, bedroom – and a few given plot elements (to tell them is to spoil them). Otherwise, Mimi and her guest-beau must fly by the seat of their pants and improvise the whole date.
On this night, she picks Jamie, who affably joins Mimi onstage. From the start, Northan helps us and Jamie to feel safe enough to participate: she is never exploitative – mischievous, yes, but always warm and kind. In the hands of a lesser performer, Blind Date could be a bumpy ride, but Northan is a true pro, gently guiding Jamie through an absorbing, touching and frequently very funny evening.
A great asset is the clown’s red nose she wears – this conveys to Jamie and us all that the improvised show is a game, and not, lest we forget, a real date.
In spite of the playfulness of the piece, Northan extracts authentic biography, opinions and emotions from her man, and in sharing real-sounding confessions of her own, gives depth to what becomes a riveting story of two strangers getting to know each other.
Mimi is an endearing character, uninhibited and cheery, and Jamie looked like he was having a great time. Aided by three other actors in small parts, and using simple settings and sound effects, the show works very well in the intimate and charming surrounds of the Charing Cross Theatre.
Blind Date is a delicious experience. In spite of it having to be different every night, Rebecca Northan inspires such confidence that I feel I can strongly recommend the show. She uses impro in a fresh and distinctive way, with a subject no one could dislike, and treads the fine line between audience fear and delight with elegance, skill and abundant humour.