fringe theatre

Light, for everything theatre

“…At the start of the show, an announcement warns us that the ushers will be watching us at all times should we have any trouble with flashing lights. This announcement, whilst concerned with health and safety on the surface, suitably forecasts the world of the play where the government monitors the thoughts of every citizen.

“…Light is inspired by Edward Snowden’s revelations of government spying. It gives us a world where technology is king and the government supposedly keeps us safe from terrorism. The story follows Agent Dearden in a world where speech is redundant, as every human being has an implant that allows him or her to transmit thoughts directly to the receiver’s brain…

“Whilst the story itself is typical example dystopian Big Brother fare, it balances a wider worldview with an intimate portrayal of one family. What makes this production truly compelling and unlike anything I have ever seen is its use of light and sound…The actors use precise and detailed movements to indicate character, and location, often appearing to manipulate the beams of light…Surtitles, rather than speech, contribute to the lighting element and add character and plot information, though this is used only when absolutely necessary.

“This production is part of the London International Mime Festival for a short time and then goes on tour nationwide. To experience innovative theatre that takes the art form to new heights, see this show.”

Intention: ☆☆☆☆☆

Outcome: ☆☆☆☆☆

Star Rating: ☆☆☆☆☆

Read the entire review on everything theatre: http://everything-theatre.co.uk/2015/01/light-the-pit-at-the-barbican-review.html

Greywing House, for everything theatre

“One-person shows are extremely hard to create and perform effectively. It’s easy for them to be too long, too boring, too bizarre, too indulgent or too lots of other things. Greywing House uses poetic writing and language, puppetry and movement to craft a narrative that gradually exposes the otherworldly realities of coastal Greywing House and its proprietor, Miss Amelia. The audience are the guests staying at this B&B (which doesn’t offer breakfast because it’s too hard for Miss Amelia to keep track of the time) in the fictional coastal village of Cradlehead. There isn’t much to do in Cradlehead, but the local residents and ghostly legends make it unlike any other seaside destination…

“Miss Amelia is the epitome of polite restraint, akin to a 1950’s housewife. She seems quite innocent, but with a hint a melancholic nostalgia. She is warm and friendly, though this gradually deteriorates into desperation and madness. Mary Beth Morossa, the creator of the show, plays her with detail and sensitivity…

“This is a one-person show that is not without potential but still needs development. Having debuted at the London Horror Festival last year, its creepiness works any time of year and I could imagine it in the programme of numerous fringe festivals.”

Intention: ☆☆☆☆

Outcome: ☆☆

Star Rating: ☆☆☆

Read the entire review on everything theatre: http://everything-theatre.co.uk/2015/01/greywing-house-etcetera-theatre-review.html

Beautiful Damned, for remotegoat.com

Anthony Patch, a debonair young man, begins building a house of cards on a table in a shabby bar. On the verge of collapsing, Anthony gives up on the cards almost immediately. He takes no risks, stopping before he has really begun, or grew bored. Both possibilities reflect the tumultuous years spent with his wife, Gloria. Anthony and Gloria’s relationship mirrors their Gatsbian world of excess: they are self –absorbed, often indifferent towards each other, either passionately in love or in hate. The play chronicles the highs, lows and love affairs of their 10-year relationship with energy, commitment, versatile performances in a dingy, speakeasy atmosphere.

Nadia Cavelle and James Hyde skillfully portray the journey of the couple’s relationship as they meet for a drink to relive their past. Even with pianist and barman Fitz (Guy Hughes) to support the plot, the production is essentially a two-hander. Their first date is tea at The Plaza; Anthony clearly loves Gloria at this point, but she only loves herself. As their relationship develops, so does Gloria’s empathy but we see that Anthony is equally self-absorbed and lazy. They want to drink and dance, but cannot be bothered to put the work in to pay for their indulgences. Other friends and acquaintances from their past join them, played by Hyde and Cavelle using costume pieces to signify the character change. Altering their voices and movement style, the actors show the character transitions clearly and demonstrate their characters’ absurd behaviour extends to their social circle. They fight and make up constantly. Everything is high drama in Anthony and Gloria’s world as the action flips back and forth between past and present.

Whilst the actors make the transitions well, the lights are slow to keep up. Obvious changes in the lighting state support these episodic time leaps, but are ill timed and not actually needed. The stage space is used effectively by director Ben Weaver-Hincks, but the audience has little breathing space. £3.50 mint juleps help ease the discomfort and the theatre will want to maximize audience capacity, but the seats could have used a bit more space around them. Direct address is used occasionally to include the audience, but could have been employed more. Having not read Fitzgerald’s novel, I cannot comment on the adaptation quality. The piano accompaniment certainly aids in creating atmosphere, but the highlight of this show is the performances.

The story must come to an end, however. Anthony reveals a certain indiscretion whilst stationed down south during the war. They are older, jaded and really quite damaged. There is a strong element of faded glamour, obviously reflected in the set design and decoration. The world they knew and relished so fully has collapsed and been rebuilt unrecognizably to them, a house of cards pushed to its limits again and again. Do they genuinely love each other? Perhaps. Like two playing cards able to stand because they lean on each other, these two childlike individuals cannot navigate reality on their own.

Intention: ☆☆☆☆

Outcome: ☆☆☆

Star Rating: ☆☆☆ 1/2

Originally posted on remotegoat: http://www.remotegoat.com/uk/review_view.php?uid=11680