by Grace Bouchard
As I stand to leave, my foot lands on something soft as it squashes into the ground. I pick up my shoe to see a glistening, pink strawberry, now jam, on the floor. That’s a shame, I think to myself. I could have eaten that.
interdisciplinary
Not I, Battersea Arts Centre
by Laura Kressly
Surrounded by darkness, The lower part of Jess Thom’s face is lit by a black hoodie with built-in lights. ‘Cats – biscuit – hedgehog’ frequently punctuate her rapid-fire, stream-of-conscious speech.
Beowulf, Unicorn Theatre
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Two walls of Marshall amps sit either side of gleaming trusses. A DJ booth manned by a black-clad figure sports a banner for a place called Heorot. Smoke seeps through vents in the floor and a woman in goth metal dress prowls the stage.
Hot Brown Honey, Edinburgh Festival Fringe
‘The revolution is childcare!’ proclaims Busty Beatz from the top of her honeycomb mountain. The revolution also honours people from First Nations around the world, respects women of colour and escapes the constraints of imperialism. It’s owning your body, your sexuality and your race. It is Hot Brown Honey, the radical feminist cabaret from Australian women of colour.
The People Show 124: Fallout, Toynbee Studios
Making devised work for the past 50 years, People Show are nothing less than prolific. Their multidisciplinary works are numbered as part of the title; the company’s works now number 132. To celebrate their anniversary, the company’s taken over Toynbee Studios for three days, filling the venue with performances, films and an exhibition celebrating their half a century of work.
People Show 124: Fallout, first performed in 2013, is resurrected here. The piece deconstructs speeches by public figures and adds light, sound and film; the overall effect is one of provocative absurdity – isolated soundbites lose all meaning, even in a world that’s said to be falling apart. This short piece drives its point home quickly and efficiently and stimulates the senses, but with its message emphasising meaninglessness, it soon becomes repetitive.
Everything in the room is white, even the padded floor is powdered with talc to add an additional layer of frost. Pillows attached to the walls evoke a soothing dreamscape. But soon, pulsing colours disturb the peace as the cast of four fiercely deliver snippets of text. The lights are often so bright they are uncomfortable, even though the colours are childlike and fun. The juxtaposition is clever and sharp, and the switch from austere to saturated is an effective one.
The actors’ tone ranges from gentle to antagonistic, with a decidedly post-apocalyptic bent to the text. Projections of sweeping desert landscapes back up the promises of nuclear fallout, though the dreamy atmosphere from the beginning still lingers – what is real, and what is the product of our subconscious? The disconnect from reality diminishes any potential meaning, making the outcome decidedly absurd, even though the intention seems to want to carry more weight.
This colourful world enhanced with gorgeous projections, bright lights and music is integrated with the text, though there is a lack of development in the core idea of the piece. If real life is has no purpose and we’re better off in a dream because the world is hellbent on destroying us, that’s fine – but a performance telling us that is not an easy thing to execute and in this case, not done fully effectively.
People Show 124: Fallout is now closed.
The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.
People Show 124: Fallout, first performed in 2013, is resurrected here. The piece deconstructs speeches by public figures and adds light, sound and film; the overall effect is one of provocative absurdity – isolated soundbites lose all meaning, even in a world that’s said to be falling apart. This short piece drives its point home quickly and efficiently and stimulates the senses, but with its message emphasising meaninglessness, it soon becomes repetitive.
Everything in the room is white, even the padded floor is powdered with talc to add an additional layer of frost. Pillows attached to the walls evoke a soothing dreamscape. But soon, pulsing colours disturb the peace as the cast of four fiercely deliver snippets of text. The lights are often so bright they are uncomfortable, even though the colours are childlike and fun. The juxtaposition is clever and sharp, and the switch from austere to saturated is an effective one.
The actors’ tone ranges from gentle to antagonistic, with a decidedly post-apocalyptic bent to the text. Projections of sweeping desert landscapes back up the promises of nuclear fallout, though the dreamy atmosphere from the beginning still lingers – what is real, and what is the product of our subconscious? The disconnect from reality diminishes any potential meaning, making the outcome decidedly absurd, even though the intention seems to want to carry more weight.
This colourful world enhanced with gorgeous projections, bright lights and music is integrated with the text, though there is a lack of development in the core idea of the piece. If real life is has no purpose and we’re better off in a dream because the world is hellbent on destroying us, that’s fine – but a performance telling us that is not an easy thing to execute and in this case, not done fully effectively.
People Show 124: Fallout is now closed.
The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.
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