I Hear You and Rejoice, Tricycle Theatre

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by guest critic Maeve Ryan

I Hear You And Rejoice is a tribute to the power of the single storyteller.  Lighting, costume and staging are simple, revealing the power of the skilled actor. The result is a joyful play full of sentimentality that is also hugely funny.

This is the followup to the much-loved The Man In The Woman’s Shoes, also written and performed by Mikel Murfi. Both plays began their journey following a research period  interviewing older people in Murfi’s native Sligo. Having performed the play back to the very people he had interviewed for inspiration, The Man In The Woman’s Shoes debuted at The Hawkswell in Sligo. It has since toured extensively to audiences at home and abroad.

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I Am My Own Wife, Wimbledon Studio Theatre

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Charlotte von Mahlsdorf was a collector and museum curator in East Berlin who survived WWII and the the Stasis, and murdered her abusive father when she was a teenager. More remarkably, she was transgender. I Am My Own Wife is primarily her biography and a tribute to her achievements, but also the research process by playwright Doug Wright. Wright set out to make a play about her, but was so affected by her stories that his reactions make their way into the text. It deservedly won all major American theatre awards after its Broadway premier in 2003, but Unusual Theatre Company’s production doesn’t serve the text as well as it could.

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Manwatching, Royal Court

An anonymous woman frankly monologues about taboo sexual fantasies, abortion, orgasms and what turns her on. It’s honest, personal and as a fellow woman, easy to relate to. But rather than a woman performing the text, Funmbi Omotayo is given the script onstage having never read it before. The experiment to explore the effects of a man delivering a woman’s words on female sexuality has good intentions, but it doesn’t work. Most of the content is common female experience, and there is no primary narrative thread. The reading is often clumsy and flat and with little to look at, the piece lacks much of a dynamic.

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Dominoes, Tara Theatre

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There’s a database where you can look up the size of reparations paid to slave owners after slavery was abolished. In Dominoes, History teacher Leila and her fiancĂ© Andy share the same last name – McKinnon. Andy’s white and Scottish, Leila’s half black-Caribbean. When curiosity gets the better of her in the run up to their half term wedding, she makes a discovery that pits family and friends against each other and threatens to destroy her big day.

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Identity Crisis, Ovalhouse

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Phina Oruche has had an extraordinary career. Growing up in Liverpool to Nigerian parents and desperately wanting to see more of the world, she let her best friend Amy talk her into doing a modelling photoshoot as a teenager. Soon she found herself living and working in London, then New York and LA. Eventually tiring of the high fashion world and feeling the pull of her home, she moved back to the UK where he career led her firmly into the film and telly world. Now a mum and conflicted about the cultural pushing and pulling on her life, she examines who she really is the self-penned Identity Crisis. The punchy tapestry of characters and experiences has messy and confusing moments and no clear resolution or story, but it’s brimming with heart and life.

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Flights of Fancy, Soho Theatre

Fancy Chance was born in Korea, abandoned as an infant, adopted by a conservative American family, then moved to London. After working as a table dancer and then in a peep show in Seattle, she moved into burlesque, drag, cabaret, live art and circus. Her CV that’s more varied than her cultural make-up, Fancy’s latest endeavour is her first solo performance, Flights of Fancy. Drawing on current politics, cultural clashes and expectations, and her performance history, the show is a collection of sketches that create a quirky autobiography of sorts. Endearing and fun with a biting finale, the piece’s through-line is woolly with loose connections between individual moments.

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Day Three at Buzzcut Festival

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One of the durational works on Saturday afternoon is the six-hour Silent Dinner, where a group of D/deaf and hearing performers prepare a large meal without communicating in their native languages. There isn’t the rush of a professional kitchen, and sunlight streaming through the windows and lighting the rich colours of fresh ingredients is stunning in it’s peaceful simplicity. Watching them is a meditative exercise as they move around the rows of tables, silently and slowly preparing food that they will then eat together. It would be easy to sit with them all day as they take pleasure from the communal experience of cooking and eating.

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