The lights dangling over the audience in the intimate pub garden theatre look rather like anal beads. It’s a great choice by lighting designer Richard Lambert because they suit the joyously raunchy tone of this adult panto in Vauxhall, or rather, the charming mountain village Vaüxhallen. The town’s residents we meet over the two hour-long show are all out for some action and adventure – in every sense of the word.
This is an ambitious, interactive new video-game inspired musical, melding a tale of the trials and tribulations of a contemporary family with an 8-bit video game aesthetic. Each audience member is given a ‘controller’ (a bit of card which is blue on one side and red on the other), and at certain points in the narrative, they gets a say in what direction the plot turns. Towards the latter part of the show, the narrative rewinds and you see all of the alternative paths that could have been taken.
As the audience enters the venue, a band is onstage waiting. The five-piece, all-woman band stays there the whole time, playing punk rock in between performing the play’s scenes. They tell the story of eight years from a girl’s life spent growing up, falling in love, making a mistake, and her life falling apart due to horrific things happening to her. She then attempts the long road to recovery, with the help of her mother and therapist.
This is the first preview performance of a one-man show following Jacob, a young man trying to turn over a new leaf away from his previous life as a hard-living and loving party animal. He’s doing this through Jesus and focusing on his education. He is, however, finding this difficult due to constant interruptions from his friends and ex-girlfriends whilst he is trying to finish an assignment.
Director Jack McNamara promised very different performances for each part of Thibault Delferiere’s Spirit trilogy. Attending Lion, we begin to see what he means. Audience filter in to find a desolate Delferiere sitting in a cage. Food is once again dangling from the ceiling, but whereas in the first it was an innocent apple, here a large chunk of meat, tantalises Delferiere from above.
Spies Like Us Theatre have returned for one week with their award-winning show from 2017’s Edinburgh Fringe. A five-person adaptation of the Graham Greene satirical novel, this one-hour show follows the story of a local vacuum cleaner salesman pushed into working as a spy for MI6 in Cuba, Havana.
Accompanying the first performance of Thibault Delferiere’s trilogy (directed by Jack McNamara), is a side of A4 paper containing three quotes from Nietzsche. They depict a journey through three transmutations: the spirit as camel, the spirit as lion, the spirit as baby. Like the camel, the spirit desires to burden itself and takes on heavy loads. Once laden it transforms into a lion – where it’s power and destructiveness can create the space for the new. And in that space, the baby emerges – wide-eyed and forgetful, the spirit can now create unencumbered. That is the journey that the trilogy promises to traverse.
Six young actors, maybe friends or maybe strangers, are stuck. They greet us when we enter and they are kind, but they do look a bit lost. They take turns to share important memories from their childhood, which sometimes fall out as fairytales or pop songs. Fragments of innocent childhoods which have slipped through fingers.
The group’s sophomore run at the festival, this is the a-cappella company’s homage to
‘guilty pleasures’ – cheesy songs you shouldn’t love, but (judging from the singalongs at this afternoon performance) most people do. An all-male, eleven-strong group greet the audience at this show, with a backdrop of album covers of by the cheesy artists they would be performing.