The Wider Earth – REVIEW

The Wider Earth

Natural History Museum, London

 

Seen October 20th, 2018

Reviewed by Jade Prince

★★★★

We all know the name Charles Darwin and how his discoveries changed the world however what is less well-known is his very first voyage and the way this changed his own life.

Enter a world of adventure.

As an audience, you are taken onboard HMS Beagle and sail across the world, witnessing first hand the evolution of Darwin. This show provides a unique insight into the battles 22-year-old Charles Darwin (Bradley Foster) faced when reaching for his dream. Striving for acknowledgement in a prestigious community, acceptance from his father (Robert Darwin played by Ian Houghton) and mutual love from Emma Wedgwood (Melissa Vaughan).

The Wider Earth is London’s newest family show and has all the elements a parent would wish for. It’s entertaining, educational and a perfect way to round off a day of learning at the Natural History Museum. This was something I loved the most about the show, it’s setting. Tucked away down one of the grand corridors, the auditorium is situated right next to The Darwin Centre. A perfect pairing.

Lets get onto the show. There were many aspects I enjoyed. The story did exactly what it said it would do. It presented the buildup to Darwin’s first voyage, the voyage itself and then his return. Five years of someone’s life told in two hours. The script had a very comfortable pace. There were no moments that felt rushed and it was definitely presented at a level suitable for all ages. My only criticism would be that the characters were very bland. I didn’t feel much characterisation.

Left to Right: Ian Houghton, Andrew Bridgmont, Marcello Curz, Bradley Foster, Melissa Vaughan, Matt Tait

Bradley Foster

Marcello Cruz and Bradley Foster

Bradley Foster and Melissa Vaughan

The set was brilliant. It really helped to create an incredibly smooth transition from scene to scene. The rotation also helped to provide the feeling of traveling. There were a couple of transitions where the cast continued acting on the ‘rock’ during the rotation giving the impression they were exploring a new foreign land. It was brilliant, don’t get me wrong, however after a few scene changes the transitions felt a little repetitive and it definitely lost its wow factor.

My favourite element of the show had to be the puppets, I just wished they had more stage time. The design of the puppets was in the form of simplistic mechanisms.  You could see the structure of the inside of the puppet and route of movement. To incorporate the puppets didn’t require additional cast and crew, the cast members you saw onstage also evolved into puppeteers! Watching it on stage was beautiful. They became this extra limb for the puppet/animal displaying all the associated characteristics.

Sound and light was something which really added depth to the show. Throughout, there was an amazing backing track easing the plot through its own organic growth but also, when needed, heightened the intensity. One scene which really sticks out (without giving to much of the story away) was the moment HMS Beagle capsized. The stage and auditorium were a wash of rippling shades of blue. Completely submerged. In fact, replaying that vision whilst writing this, I can easily say that was my favourite scene in the show. So many actions perfectly executed; the sound, the light, the slow motion acting from the cast.

Looking at the whole package it is clear to see why the Natural History Museum was selected to play host to The Wider Earth. No other venue would do.

Be sure to see The Wider Earth which is calling the Natural History Museum home from now until February 24th 2019. Did I also mention that children go free when paired with a paying adult ticket? It’s true, they do! More information on the show and tickets can be found at: http://www.nhm.ac.uk/visit/exhibitions/the-wider-earth.html

GUY! A New Musical – REVIEW

GUY! A New Musical

King’s Head Theatre, London

 

Seen August 31st, 2018

Reviewed by Mark Sykes

★★★★

This musical is about Guy, an overweight millennial gay man and his search for true love. Played by Brendan Matthew, Guy thinks he doesn’t fit into the gay community and his struggles to find the right partner provides the focus for this story. He shares an apartment with Tyler (Steve Banks) and the relationship goes through a number of ups and downs; friendship troubles emanating from Guy setting up a fake profile on the dating app Grindr using Tyler’s picture. Tyler’s distant partner (Adam Braidley) sees the picture, assumes Tyler is on the latter’s ongoing conquest to find love.

Meanwhile, Guy has decided to lose a few pounds in the hope that a fitter body will make him more attractive and therefore easier to find a suitable partner. It is this storyline where Guy meets Aziz (Seann Miley-Moore), a young, fit, good-looking man of whom Guy thinks someone like that would never fall in love with him. In a way, they are a bit of an ‘odd-couple’, but actually have much more in common than each of them initially realise. Their friendship blossoms, but Guy is afraid to take it to the next level for fear of scaring Aziz away. This causes its own problems when Aziz reaches forward for that first kiss; Guy’s self-doubt and insecurities come crashing down on their relationship and it’s then a question of whether or not things can be retrieved or are their irreconcilable differences?

There only four actors in this show and Brendan Matthew shows admirable qualities as he remains on stage for pretty much the whole of the two hour show, portraying Guy’s qualities and inner demons well. Special mention though goes to Seann Miley-Moore who gave a captivating performance and was seriously impressive.

This was my first visit to the King’s Head Theatre. It’s a very small venue, albeit with a surprisingly wide stage. The intimate setting actually worked well for this show, and with only four actors there was plenty of space for them to express themselves. The staging was simple; no scenery as such, just a few props on stage; but this didn’t detract from the storyline. More so, it puts more emphasis on the dialogue and the acting, with no peripheral frills to be concerned with.

There was a sharpness to the script and lyrics, with some cutting one-liners expertly delivered by the cast. Being slightly critical though, I did feel that parts of the dialogue were a bit contrived and some of the scenes in between the 14 songs could perhaps do with a bit of trimming so as to maintain the momentum of the overall show. My only other criticism is that there were a couple of scenes where it wasn’t clear (to me at least!) whether the dialogue taking place was a virtual conversation or a physical one.

Overall, this modern love story serves as a reminder of the dangers of social media. A reliance on a virtual world of the Internet and dating apps to build relationships and to find ‘the one’, is not necessarily a path to success – especially when all may not be as it seems. For anyone though, gay or otherwise, Guy’s tale can serve as a reminder to us all to look in the mirror, accept yourself for who you are, and don’t try to become something you can never be. Embrace your own qualities, focus on the positives and be proud of YOU!

Bury the Hatchet – REVIEW

Bury the Hatchet

The Hope Theatre, London

 

Seen July 28th, 2018

Reviewed by Jade Prince

★★★★

Outside of my theatre life, there is nothing I love more than watching crime documentaries (especially BuzzFeed Unsolved!). After all, I spent 5 years of my life studying Law and Psychology. Delving into criminal mysteries became the norm for me. So I was super excited when I saw the story line for Bury the Hatchet.

There is still an unsolved murder from 1892 which had the main suspect acquitted. The murder of Andrew Borden and his wife, Abby Borden, occurred 126 years ago to the date of writing this review, August 4th 1892. The main suspect was Andrew Borden’s younger daughter, Lizzie Andrew Borden. This case was unique in providing an insight into the flaws of forensic investigation at the time as this case was ultimately dropped as there was insufficient evidence in order to secure a conviction.

Bury the Hatchet has a very unique way in retelling this story with an injection of some folk music here and there. It was delivered as a documentary yet had a very raw appearance.

Let’s just jump straight in with the biggest down fall and in fact, my only real criticism of the show. I personally feel this raw appearance let the performance down. I couldn’t help but feel there was no real thought in the delivery or preparation. Throughout the show there was a lot of jumping around. The three characters continuously jumped into various different historical reenactment roles which made it rather tricky to stay up to speed with the story being played out in front of you. I occasionally found myself confused as to what time period we were viewing: was it still the historical reenactment or had we leaped forward back into the present day retelling of the story? Whilst watching the show I could see that this disorganised element could be easily rectified in a number of ways.

Taking this out of the equation, I did enjoy the show. It is very rarely you see a play of this nature. I certainly cannot fault the cast. They were incredible and worked wonders with what they had in that room. The harmonies definitely stood out for me. I loved how the addition of music was intricately woven into the story and that it was actually relevant and fitting. The use of the limited number of instruments really transported you back to 1890’s Massachusetts.

I am always intrigued when writers perform their written work. Sarah Wilson did this for Bury the Hatchet. Not only was the writing factual and interesting but the way Sarah delivered this was engaging. The addition of Joseph Prowen and David Leopold only added to this. Chemistry is something I always look for in a cast and the chemistry seen on stage was strong enough to build Andrew ad Abby Borden’s tomb! I really admire the comedy dotted throughout. Although the whole show was scripted, the comedy never seemed forced. This was helped by the fact that Sarah, Joseph and David were able to bounce off each other effortlessly.

I am very glad I managed to see this show and it will be great to see where this goes in the future. I can wholeheartedly say that there is potential and with a budget and larger venue, this will be reached.

Bury the Hatchet is at The Hope Theatre until August 11th. Tickets ind information can be found here.

It’s Only Life – REVIEW

It’s Only Life

Union theatre, London 

 

Seen June 16th, 2018

Reviewed by Jade Prince 

★★★★

It was a rather cute show and contains some great reminders for people wanting to live a fulfilling life. Although, putting these into practice isn’t always the easiest. ‘It’s Only Life’ covers every human need spanning the whole spectrum whilst delivering the message wisely.

The music is solely John Bucchino’s who, over the year, has wrote songs which have been  performed my theatre legends such as Audra McDonald, Liza Minnelli and Patti LuPone to name a few. He isn’t well know in the UK. In all honestly, I had never heard of him. I do have to say though, I love his writing style. All of his songs in this show are very heart warming and honest. He manages to capture true life in its rawest nature.

I can’t say I saw much of a story during this show (the story I did see was left till the end) which did detract from the enjoyment initially. I was very worried I was missing the point so I started really listening to the lyrics. And that is when the enjoyment came back.

You could not ask for a more talented bunch of performers! Including the MD, Nick Barstow. I do love seeing a show and every person on stage is at the same level. No weak link in this cast! The songs were just so well suited to their voices and each of them got to demonstrate their range at various points during the show.

This was a very basic production with no microphones and just one pianist. It was such a beautiful touch only having a piano accompanying the performance. It worked so well with the lyrics being sing. Where the venue was of an intimate size there was no need for the microphones but I do wish that certain cast members had a microphone. At certain points I was really struggling to hear and I was sat front row.

The set was so cute! The use of different levels was perfect! It was very minimalistic, colour-wise. All white washed with the odd burst of colour here and there. All pastel colours and I am a sucker of pastels! I really enjoyed looking around and seeing all of the everyday items (the majority painted white) hung on the walls in the various rooms of the house. I did spy a pastel blue Buzz Lightyear!

‘It’s Only Life’ is currently playing at the Union Theatre until July 7th. If you are looking for a cute, heartwarming, enjoyable show, this is the one!

Tickets and information can be found at: http://www.uniontheatre.biz/its-only-life.html

The Secret Letters of Gertie and Hen – REVIEW

The Secret Letters of Gertie and Hen

New Wimbledon Studios, London

 

Seen April 7th, 2018

Reviewed by Jade Prince

★★★

A very sweet yet harrowing tale of two ten year old girls. Two ten year old girls , very similar but worlds apart. All due to their country of origin. After years of friendship and hundreds of letters back and forth they are soon to learn this must cease. They are now considered enemies but association. World War 2 has broken out.

‘The Secret Letters of Gertie and Hen’ has finished workshopping and held two private previews ahead of their launch and short run in November 2018 at the New Wimbledon Studios.

If I am completely honest, the first act was enjoyable. I wouldn’t say that it completely wowed me but I do believe there is definitely potential. It is a rather unique story. A story which I actually really like. It is not one we hear very often. We finally get to hear from the female’s point of view. Those who were left behind. So frequently we only get to hear the male take on events. With the character list being rather extensive you do get to see a lot of other view points too.

It is also nice having such a range of topics covered in one play. It covers love, politics, loss and friendship to name a few. Yet despite the amount of topics covered it doesn’t feel crowded. There were a few scene which I felt didn’t add or detract from the story and actually dragged out the first act a little. Apart from this the other scenes were still really engaging. I was not expecting the drastic turn of events at the end of act 1. That is definitely something which I feel will bring the audience back after the interval. I personally was gutted I couldn’t stay to see act 2 and now have to wait until November to see the full thing! Once the ‘drastic change’ started it was easy to predict what would happen next. I just hope the rest of the show isn’t like that.

Script wise, it was very strong. I felt a few of the intense scenes seemed to escalate very quickly with no between group. One minute the character are just talking and the next an argument is taking place. There was no development on that showing the lead up to the that. I think in a few cases the script wasn’t the issue, it was more the direction given.

Seeing as the show will continue at the same venue in November, I feel that it is important to comment of the set up and direction. I really liked the fact that levels were used. It was nice to have each family in their own performance space. Very rarely they overlapped. It was a rather small cast considering the amount of characters and it was handled well. In November it would be nice to see a slightly larger cast so that the roles aren’t doubled up. But I can’t fault how it was handled in these previews.

It was a nice touch not having a restricted performance space and various routes were used to enter and exit the stage.

I personally felt that the scene changes were very brief. At some points it didn’t feel like there was any pause. It just went from one scene straight into the other. As an audience  member I don’t feel like in those moments I had a chance to process the previous scene.

I honestly do look forward to seeing this in full come November. It definitely does have potential. A unique take on events which I believe will draw the audience in. With a little tweaking and polishing, this could be great!

Be sure to follow The Key Theatre Company on twitter for more information on their upcoming dates.

 

A Spoonful of Sherman (UK tour) – REVIEW

A Spoonful of Sherman (UK Tour)

Greenwich Theatre, London

 

Seen March 27th, 2018

Reviewed by Jade Prince

★★★★★

A Spoonful of Sherman retells the story of the talented generations of the Sherman family. Starting with Al Sherman and his success in the 30s and 40s and then slowly moving on to Robert and Richard Sherman who followed in their father’s footsteps, most commonly known as the Sherman Brothers. We are taken on the journey through the highs and lows they faced and the incredible music they left behind to enrich the world. With music from Disney classics such as Chitty Chitty Bang Bang, Mary Poppins and The Jungle Book to some good oldies, this show is perfect for every member of the family. There is something so wonderful about it which taps into the heart of so many different reasons.

I was blown away from the onset. Everything about this show is wonderful. I knew from the first note sung that we were in for a treat! I need to talk about the harmonies. Oh why word. They were impeccable. They were able to capture the decades so wonderfully. You were transported right back to the 30s and then slowly taken on the journey up to the present day. No gimmicks. Just pure talent. It was so refreshing to see such a raw show which was so polished. It has the west end wow factor with the set and talent yet doesn’t rely on a band or elaborate set pieces. Just two pianos, five narrators (two of which play the pianos), a few props here and there and the change in lighting to create such a beautiful piece of theatre.

When I first looked at the list of musical numbers before the house opened, I was slightly overwhelmed. I had a real worry that this show would go on for hours and hours considering 55 numbers are squeezed in. 55?! I have to say that they have crammed so much of the good stuff into this show. It didn’t feel long at all and had such a great flow. You really hear every thing from every milestone in the Sherman family’s history. The song medleys we phenomenal. They really helped to move the show along and gave it great pace. It all seamlessly blended together.

The first act was all very new to me. I don’t typically listen to music from that era but it was great to hear. It wasn’t until the end of act 1 where I started to get rather emotional and nostalgic. Those where the songs that I grew up with! To quote Robbie Sherman, the creator of the concept of the show:

“If you grew up with Mary Poppins then Mary Poppins was in your DVD player or VHS and you watched it over and over again. This was your baby sitter. A personal friend.” <— The full interview can be found here.

I could not agree more. This show will honestly touch everybody. Those from a young age who are only just being introduced to those Disney classics, to those young adults who grew up with Disney as their babysitter and to those middle-aged and older who might have heard the older Sherman songs but are also experts on the well known Disney numbers thanks to their own children and grandchildren. It is a beautiful family outing which connects every generation.

I also need to take a moment to appreciate the set. Wow! What a set that was! It was so aesthetically pleasing but yet so diverse for this show. It was a white box but without looking like a white box. When the tone of the number changed, so did the set with the help of the lighting. I clearly remember how drastic the change was from “There’s a Great Big Beautiful Tomorrow” to “Wind’s in the East”. It was able to go from a really jolly song to something a lot darker in mood. Gabriella Slade did such a wonderful job! It allowed the pianos to blend in so perfectly and allowed their movements to become part of the show.

Overall this show is stunning and I would urge everyone to see it. Take your family and have a great night out. I will definitely be racing to see it again when it stops in my home town at the end of April. Good, old fashioned entertainment that won’t break the bank.

It is such a stunning legacy to the Shermans and a beautiful was to learn the history of such an iconic family who have touched billions of lives.

All information of the ticket websites for various theatres, dates and stops on the tour can be found here. I have included the current upcoming dates and locations below.

–There is also a cheeky little link to a giveaway we are holding if you are quick and catch it in time! Continue down to the bottom of this post for the link–

Upcoming UK & Ireland tour dates:

5-7 April 2018 – Grand Theatre, Swansea

15-17 April 2018 – Queens Theatre, Hornchurch

18-20 April 2018 – Shanklin Theatre, Isle of Wight

24-26 April 2018 – Octagon Theatre, Yeovil

30 April – 1 May 2018 – Wyvern Theatre, Swindon <–My next dates planned! 

7-9 May 2018 – Lincoln Theatre Royal, Lincoln

14-15 May 2018 – Playhouse Theatre, Weston-Super-Mare

16-18 May 2018 – Northcott Theatre, Exeter

31 May – 1 June 2018 – Everyman Theatre, Cork

2-3 June 2018 – Pavilion Theatre, Dublin

 

We currently have a giveaway active on our twitter page. Click here to enter.

Myth – REVIEW

Myth

The Other Palace, London

 

Seen on March 16th, 2018

Reviewed by Jade Prince

★★★★

Okay, so this will have two parts. Two separate posts. One being a review of the most recent production at The Other Palace and the other being comments on the development. I managed to see the show back in 2016 at the Cockpit theatre when it was ’27’. I loved the show back then and still do today.

I will try my hardest to make this review as if it was my first encounter with the show.

This was a workshop run at The Other Palace.

For those not aware of this story, it is heavily based on Ancient Greek mythology. More specifically Orpheus and his encounter with the underworld. As the rock score would imply it is a modern rendition of this historical tale.

This is most definitely a darker show in comparison to those in London currently. It touches on the very difficult topic of mental health. It perfectly represents how mental health is overlooked and how when it is identified, all attention goes to that one person drawing focus away from those also suffering. This is something that occurs so often.

Orpheus is the lead character struggling with a huge life change, being propelled to stardom. The audience are shown his ways of coping which are detrimental to his life, health, friends and family. An even darker turn is that all of this had been decided before hand. The fates knew exactly what they were doing.

The vocals were outstanding. Oh my goodness. That cast is so talented. The harmonies and power. They tore the roof off the theatre. Some standouts were definitely Eloise Davies (Clotho, a fate), Jodie Jacobs (Atropos, another fate), Joel Harper-Jackson (Orpheus) and Zoe Birkett (Miss. M) That’s not to say the rest of the cast weren’t on fire because they most certainly were. It’s been a long time since I’ve seen a cast of that standard. Not a single weak link.

Although I really enjoyed the show there were a few things which I noted which could’ve been improved and with it being a workshop feedback is needed to develop it into the wonderful show it could be. I believe there is a lot of improvement to be had with the script. As previously stated, the whole concept of the show is very unique. I just felt parts of the script fell flat. One particular scene was about halfway through act 1 when Orpheus meets Hades in the underworld. That scene was very dragged out and I even found myself losing interest and willing the next number to come along.

I really struggled with the names. I know that they are all Ancient Greek mythology related which is very in keeping. I just really struggled remembering them and therefore making connections with the characters. Obviously having such an emotional show I feel it should be important to put memorable names to faces. I had no issues with some names such as Mel, Miss. M, Pandora, Orpheus (obviously!) and Hades. The main characters. But if you were to ask me what the other minor characters were called, I wouldn’t be able to tell you.

One thing I like about The Other Palace is that the performance is not restricted to the stage. Throughout the show the stairs were uses (not too great if your back was facing said stairs) and characters actually sat in spare seats in the audience. There was a chat show scene where this worked so well.

Something which really got to me emotionally was the final number. The main stage was used but also the stairs of the theatre. One was a happy image and one was sad but you could choose which one you wanted to watch. I am not too sure why that blew my mind but it was a really nice touch. This also links to the chat show scene. It is nice to have the choice in what you watch although the whole story is still present. Easily missed behaviours and actions are noticed which add so much more to your understanding of the show.

I thoroughly enjoyed the show. Outstanding music with a great plot. I really need a cast recording ASAP!

I really do think that I have found my favourite new musical. The whole concept is incredible. I can really see it being mega when everything is where it needs to be. I am beyond excited to see how this show develops even further in the future and endeavour to be there every step of the way!

Part two of this post is linked here were you can see some of my thought on developmental changes which have been made since 2016.

From Numbers to Words: the development of ‘Myth’

I saw Myth back in 2016 at the Cockpit theatre under its previous name, ’27’. For those not aware of this story, it is heavily based on Ancient Greek mythology. More specifically, Orpheus and his encounter with the underworld. As the rock score would imply it is a modern rendition of this historical tale. Over the past two years it has gone back into development. Here, I will be making a note of the changes I notices and whether I personally feel that they were beneficial for the shows development.

–Keeping in line with my other posts, I shall be keeping this very honest.–

I do have to say this right off the bat before we go any further  – I don’t like the new name. It is so generic. My response to the name change was ‘myth, of what?’. 27 was much more catchy and more unique. It gave the insight as to what the show was about without revealing too much and was still enough to spark people’s curiosity. Having spoke to Sam Cassidy after the 2018 show, I still stand by my view. His reasoning behind the name change is valid however I feel it could have been executed in a better way. I don’t feel that Myth markets the show as it should do and is actually underselling it currently. If I hadn’t have previously seen 27 and I had stumbled across Myth’s page on The Other Palace’s website I would have been, “Okay, if I get around to seeing it, I’ll see it”, It wouldn’t have gone straight to the top of my theatre list.

When I saw the show back in 2016 the only real criticism I had was the script. It had a real amateur feel to it. Something which I would have expected to see from a GCSE candidate. I was very pleased to see that the 2018 production had had a lot of work done on it script wise. It seemed so much stronger. Back at the cockpit it wasn’t until act 2 that you actually realised the story whereas now it is made clear from the onset. The script seems a lot more engaging with quick little one-liners throughout. Those did make me chuckle. It was a nice touch having these as the show is very dark so it was almost a relief to be laughing at moments. There was one scene in act 1 where Orpheus meets Hades for the first time in the Underworld and for me that was the weakest part in the script. It seemed incredibly long winded for what was happening. I actually did lose interest and was willing for the next number to start because I knew how great the music was! But to only have this in one part of the show was a great step up.

Side note on the script – I adore the fact they kept the section on “hey, boy. What are you thinking about?”. My heart melted. “You, my favourite thing” Gone. Love it.

I really like the fact the ‘fates’ had more of a presents this time. It felt like they did anyway. It was great seeing a deeper characterisation of them. Atropos being the ‘mummy’ fate and keeping the other two in check and then jumping to the other extreme with Clotho who seemed to be the youngest with a purer heart.

I understand that this was a workshop production so the budget was very limited however I would definitely like to see more of a difference in the reality and the underworld. Just to make things a little clearer on the audience’s side. Same goes with the character appearances. I loved the way the ensemble were predominately in black but I did think Orpheus and the other band members didn’t have a real rock look. They could have easily passed for a mediocre pop group (which, I suppose, is what they are to start with!). I just wasn’t getting that rock star vibe especially from Orpheus.

This 2018 version had a lot of new songs added. Some I was able to catch and noted that they were the new ones but they all blended in so well. Went so naturally together. So much so, some I completely believed had already been in the show. Once again, the music is just incredible. It is always a positive when you come out of the theatre singing the songs. One of the new editions which actually closed the show was great! Definitely the anthem of the show. I mean, it was rather cliche. I really up beat, feel good song but it is a well justified remedy after a show touching on some depressing elements.

The characterisation of Hades definitely changed but I appreciate this will differ from actor to actor. Ryan Malloy gave it a more edgier feel whilst portraying the sinister side. After all, he is the devil! Whereas this time around it was more…annoying. It was the very typical *insert British accent* “proper British devil!”. You didn’t want to hate or like him, rather ignore him.

I know this post seems incredibly negative however I really do want the best for this show. I absolutely adore it and will continuously be raving about it. It has such great potential and I cannot wait to see it blossom into the next West End hit!

I did review the workshop production at The Other Palace is you are interested in reading that too!

Lipstick: A Fairy Tale of Modern Iran (Script-in-hand performance)

Lipstick: A Fairy Tale of Modern Iran

A new play written and directed by Sarah Chew

 

The Omnibus Theatre, Clapham, London

Seen March 16th, 2018

Written by Jade Prince

— This will not be a review but more of an experience and a jot down of all my thoughts. I will not take into account the set or anything that will change from production to production. I will be mainly focusing on the script and its content. It seems unfair to publish a review on something which is so early on in its development. —

Beyond Boarders is a mini-season at The Omnibus Theatre which displays work from female theatre writers who all share the same focus of intercultural communication and collaboration. They all aim to raise awareness on the exclusions (both personal and political) faced by different cultures and ethnicities. The sole focus of this mini-season is Britain and the Middle East. Beyond Boarders is made up of five different shows, one of which we got to see.

Part of Beyond Boarders, the script-in-hand performances of ‘Lipstick: A Fairy Tale of Modern Iran’ tells the story of Orla who ends up slap bang in the middle of the revolution in Iran. Raising so many questions about the things she witnessed and experienced. A unique new piece of theatre which is half theatre and half drag cabaret. It is also important to note that all of this was inspired by Sarah Chew’s own time in Iran back in 2010.

To say this is a work in progress and the team have been working on it for only two weeks it was pretty spectacular!

The whole concept was heartbreakingly beautiful. Orla, attempting to understand exactly what she saw during her 6 weeks in Iran. A completely different country with completely different laws and more importantly a completely different view on women. The perfect place for a feminist to witness and experience first hand. Witness and experience she sure did.

The script was initially slow and I found it a little uncomfortable how the audience were addressed to start with. Orla is actually telling you, the audience, the story but despite the initial uncomfort, it actually worked so well as the play progressed. If it had been a more intimate venue I would have felt like she was retelling the story in her living room. I would actually have cried then!

It really hit a tender nerve as is was brutal truth. We all know these awful things are happening in the world and more specifically the segregation between male and female in Iran however we as society are never given the full truth. It is always exaggerated or censored. One extreme to another. It was definitely something else hearing a first person encounter. It was wonderful but at the same time hard to swallow.

The music choice was so fitting. It really helped move the story along but at the same time the background music added that extra element of emotion which did actually cause me to tear up towards the end. The combination of the way the audience were addressed, the content being spoken and the music. It is incredible how a bit of music can have such a drastic impact on dialogue and the overall emotion.

One thing I wasn’t too sure about was the nudity. I don’t feel it was needed but then on the other hand it definitely shocked me. I had become so accustomed to seeing two beautiful women on stage that I had completely forgotten one was male. This was down to the fact the drag make-up was natural and not of the typical drag style. I did admire the way that this showed that gender was irrelevant and that we are all equal.

I did really like how Mark was utilised in helping to retell Orla’s story. Switching from character to character as they appeared and in my eyes providing that comic relief in such a hard hitting play.

This is a real political statement.

I will definitely be seeing this play again when it is next in London after further development. It is definitely a unique piece highlighting key issues faced in the world currently.

Dead and Breathing – REVIEW

Dead and Breathing

The Albany Theatre, London

 

Seen on February 21st, 2018

Reviewed by Jade Prince

★★★★★

I loved every single moment of this show! And that is incredibly rare for me to say!

I was lucky enough to have been invited along to the UK premiere of ‘Dead and Breathing’ at the Albany.  This dark comedy introduces you to Carolyn who is dying of cancer and wants nothing more in the world than to die. An affluent lady is now in the care of her nurse as she has no one left to turn to. The harsh years have spoiled Carolyn’s nice nature but one confrontation between her Christian nurse, Veronika, could be just the thing needed to change all of that.

Lizan Mitchell (Carolyn) was out of this world. Her performance was breath taking. So believable, emotional and raw! It was so beautiful to experience in such an intimate venue. The only person I have seen of that level is Imelda Staunton. She continuously topped her previous scenes.

The show its self was initially a little slow to start with but once the momentum was there it was very enjoyable. I was a little apprehensive at first as to how this show would work what with the topic and given synopsis being very dark. Although the comedy throughout was great! It was so naturally incorporated into the script.

The reveal Veronika made 15 minutes towards the end of the show was completely unexpected (I won’t reveal what it was) and just when you thought the story was over it took another drastic turn and brought it straight back to life, ironically!

Inspired by the show, its the first show with so much life that I have seen in a long time. To start off with I found the story a little dated. That was until Veronika’s reveal and then the whole dynamics were flipped. There was so much relevance which is still seen within todays society and the different generations.

Chisa Hutchinson writing was so engaging. At no point during the show did I feel my attention slipping away. It was gripping. Even one scene with no dialogue for the whole duration of a bed being stripped and made, I was on the edge of my seat watching each character like a hawk. It was great at seeing more of their characters

Side note on Chisa Hutchinson: I personally adore anyone who, on their website, has the tab entitled “awards & shit”

This is one of those shows I shall be raving about for a while! Definitely find the time in your busy schedules to se this one. After all, it is its UK premiere and I predict that it will be the biggest thing everyone will be talking about next year!

The show runs from now until March 3rd and for more information of this show which  you need to see ASAP, just head over to https://www.thealbany.org.uk/event_detail/2203/Theatre/Dead-and-Breathing

Theatre Maker Launch at the Cockpit Theatre

Sunday 18th February, 2018

For those not familiar with the Cockpit theatre, it is a fabulous little venue in Marylebone. It is a chameleon of a building. Used for rehearsal spaces, a main theatre auditorium with 420 seats and a bar where they host a number of different events. Whether that is presenting shows, hosting events, training days, industry events, the Cockpit is an incredibly welcoming space which cherishes new creators and their works.

They have been working on a brand new hub focusing on those making theatre. This hub will consist of classes, courses, workshops, talks and drop in session in order to aid people with new skills and to share and develop their own ideas. Various workshops will take place as well as the weekly drop in session scheduled for every Wednesday at 6pm in the bar.

In this blog I shall be giving a run down of the launch day, what went well, what I didn’t like so much and then I shall be delving into what is on offer and what taster sessions I took part in. These will be in more detail explaining exactly what we did and what you can expect to see followed by MORE information of the available course along with prices, date and time frames.

From the moment I stepped foot into the theatre I was greeted with a fabulous friendly welcome which you can always expect from the Cockpit staff. You’re always made to feel welcome there and I truly believe that this would be the best place in London to take evening classes/courses/share ideas with other creatives.

When we arrived we were given the agenda detailing everything that would be happening over the next 4/5 hours. There was also the breakdown of the taster sessions happening through the day with 3 lots of 40 minute session with 10 minute breaks.

The agenda for the morning:

(I’ve circled the taster session I attended)

The numbers were very disappointing considering how any people had booked on. All of those people who were no shows really missed out on some great sessions.

The first session of the day was ‘From Theatre Maker to Film Maker’ led by Steve North. This was great and provided a brand new experience. Steve has had a very colourful career initially starting off in acting and has now moved into theatre making. His most recent achievement was co-writing the short film ‘Through the K-Hole’ and directed the hard winning ‘Cregan’.

His actual course is a lot longer however we had a great insight. He stripped it right back and we started looking at our own memories and how they are personal. We did a simple exercise of writing down three different memories: one from last year, one from last week and one personal memory from any point in our lives. We then paired up and had to tell the other person our memory. It was then open for them to retell that memory to us and then in the group when we all came together, stood in the dark. It was a very strange experience because these memories that had once been our own where now someone else’s. It was such a strange feeling listen to your own memory from a different person. I found myself sympathising and nodding my head as if I was sympathising with the person even though it was what I had dealt with. We did this a few time but it was a great way to see how we connect to personal stories and the benefit of focusing on a personal experience when starting to write the concept and script for a short film.

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The second taster session of the day was with Sarah Fraser and focused on making theatre from scratch. Obviously this is a very broad topic and her course will delve in deeper to the whole process but it was great what we did in the session.

A little background on Sarah – she has helped create the theatre company ‘Hoax’. In 2012 she graduated from the Central School of Speech and Drama with her MA in Classical Acting. From there she has worked in immersive theatre and has had a real focus on physical theatre, using voice on the body to create brand new work.

It was basically a whole game session to break the ice and make everyone feel comfortable around each other which is obviously key when working in a team which need to be very close and on the same wave-length. The improvisation game was fabulous. We were simply handed a scarf and told to run wild with one rule: the scarf could not at any point be used as a scarf. It was great to see people improvising and for others in the group to so willingly join in with ideas. Everyone was on board 110%. Sarah’s energy and passion was infectious and I strongly believe that people on this course will benefit immensely.

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The third and final taster session I took part in wasn’t what I thought it was going to be. If you have read my previous blogs and review you will have noticed that I like to go into things ‘blind’. Without knowing the story/previous reviews/or reading much on the theatre website so I did not read into each of the different taster sessions. I simply turned up on the day and selected whatever sounded interesting to me. This was the ‘making theatre using visual and physical techniques’ session led by Miriam King.

For some reason I was expecting it to be very heavily focused on props and scenery and other ways of presenting the story on stage. I was very wrong. Miriam specialises in physical movement and how that tells the story. The exercise we did was very beneficial in understanding how to ground ourselves and move into a neutral state. This would be perfect for actors when transforming into drastically different characters from their normal selves however I did struggle to connect and enjoy it. I know that sounds really harsh but it just wasn’t something I enjoy. Miriam is very experienced and really puts the whole of herself into her teachings.

Before I knew it the taster sessions where over and it was time to watch the performance of ‘The Silent Stream’ which was written and performed by Jonathan Brown.

This was definitely not my type of theatre. I started drifting into my theatre reviewer state (not that I was there to review the performance). We saw this performance as Jonathan Brown runs the ‘Making theatre as a solo performer’ course which will be running as part of Theatre Maker. Having read up on the one man show since I have seen it, I do believe that there is greatness behind it. Especially as its has sequels entitled “Betsy: Wisdom of a Brighton Whore” (a one woman show) and “The Well” (ensemble piece). I would be intrigued to see these pieces now. I found the performance of ‘The Silent Stream’ to be very slow. It seemed to be a little all over the place and was very hard to follow. I personally feel that it would work better as an ensemble piece. This might help it flow better especially when two or more characters are presented at once on stage. What I saw definitely had potential though.

Anyway, this isn’t a review on that show, its a write up on the whole ‘Theatre Maker’ launch day experience! I really enjoyed it from the start. I have to admit ‘the Silent Stream’ was the only let down. It didn’t advertise the course in the best way and I think a lot of people were lacking enthusiasm by that point. From the taster sessions I have seen, I really do have high hopes for what the Cockpit have planned.

Below I shall include all the information you will need about the different courses, prices, time frames, and dates as well as links to the cockpit so you can keep up to date with all of their latest information and for the possibility to attend any future taster sessions.

The classes which will be offered area:

• Making Theatre as the Entrepreneurial Artist (£100, 4 weeks, Monday March 5th-26th, 10:30am-1:30pm)
• Making Theatre Using Visual & Physical Techniques (£160, 6 weeks, Wednesday March 7th-April 11th, 7pm-10pm)
• Making Theatre from Scratch (£130, 6 weeks, Tuesday March 20th-April 24th, 11:30am-1:30pm)
• Making Theatre as a Solo Performer (£310, 5 weeks, Thursday April 5th-May 3rd, 6:30pm-10pm)
• Making Theatre with Storytelling (£80, 3 weeks, Wednesday April 18th-May 2nd, 6:30pm-9:30pm)
• From Theatre Maker to Film Maker (£180, 2 days, Saturday April 21st-Sunday April 22nd, 10:30am-6pm)
• Making Theatre Using Commedia Dell’Arte (£160, 6 weeks, Wednesday May 9th-June 13th, 7pm-10pm)
• Making Theatre with Improvisation (£160, 6 weeks, Thursday May 10th-June 14th, 7pm-10pm)

For more information on Theatre Maker at the Cockpit: http://thecockpit.org.uk/Theatremaker

Follow the Cockpit on twitter for all of the latest information: https://twitter.com/cockpittheatre

Thank you or reading this far! Here is a little reward – If you book onto a course before 6pm Monday 26th February, 2018 you can take full advantage of the one-off launch day code ‘INVOLVED18’ to get 15% off! You’re welcome!

Life is too short. Take the chance and make captivating theatre!

The Believers are but Brothers – REVIEW

The Believers are but Brothers

Bush Theatre, Shepherd’s Bush, London

Seen on January 31st, 2018

Reviewed by Jade Prince

★★★★★

This unique one-man show provides a hard hitting take on the social world in which we currently live in. Touching on topics such as terrorism, politics and resentment this performance is thought provoking from the onset. Even before entering the theatre, from just reading the programme, the cogs in my brain were set into motion. The main focus of this show is how three resented men from different walks of life with access to the internet rapidly have their lives changed to accommodate a radical point of view.

(DISCLAIMER – a lot will be revealed in this review so if you are wanting to see the show without any prior knowledge I recommend you stop reading. However if you don’t mind and are still intrigued, please continue reading!) 

Let’s start off by saying this is unlike anything I have ever seen and unlike anything currently out there, 100% with the times and so relevant. It was a slight shock walking into the theatre and hearing the words ‘would you like to join our WhatsApp group to use during the performance?’. This is a unique part of this performance which really added to the topic. It emphasised the fact that everyone is in immediate connection and despite being in a room of say 50-odd people, we were all still completely anonymous. The only identification we had was the first name that would appear on the WhatsApp message if we decided to send one. That was really hard hitting for me, personally. The anonymity of everyone in the room was really felt when we were all asked to message the strangest thing we had seen on the internet. That brought up some strange things! I have to admit that at some points having the WhatsApp messages coming through was slightly distracting and I struggled focusing on what Javaad Alipoor was saying. With the messages coming through it was so difficult to determine what was real and what was scripted which demonstrated the world of fantasy and reality online.

The whole performance was so engaging. It felt like I was watching a documentary. I definitely came out feeling different in a strange way and with a changed view on the social media world. It was an education I believe everybody needs in relation to some of the topics it touched on regarding the type of information you put out online and the repercussion that may have. I do love a good piece that makes you think.

The show itself was very basic. Very raw. It was scripted but the way Javaad delivered the script made it feel like he was having a genuine conversation with you about something he is truly passionate about. There were no elaborate sets (although the set was very pleasing to look at), no extravagant lighting used. Just Javaad on a stage with a desk, a few computers, a microphone and a mesh screen for the projected images. That was another great aspect, having the media displayed in different ways. It wasn’t just an hour of Javaad talking at you.

This is one I would highly recommend and deeply believe that everyone would take something different from the show whether or not it is something that you have an interested in. Ticket prices range from £10-£17.50 and is running until February 10th. More information can be found at https://www.bushtheatre.co.uk/event/the-believers-are-but-brothers/