Notorious, Barbican Centre

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by guest critic Nastazja Somers

It wasn’t by accident that I ended up seeing The Famous Lauren Barri Holstein’s new work The Notorious at The Barbican Centre. Give me feminism, plenty of liquids and general messiness on stage and I’m there, screaming my head off, like when Lucy McCormick performed her Triple Threat two years ago at Edinburgh Fringe.

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(I Could Go on Singing) Over the Rainbow, Edinburgh Festival Fringe

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When I was little, around three or four years old, I went through a phase where I watched The Wizard of Oz everyday. I adored everything about that film. I wanted to grow up to be that brave, stubborn girl who loves animals, with a group of devoted friends making sure she was always safe whilst embarking on her next wonderful adventure in a foreign land.

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KlangHaus: 800 Breaths, Southbank Centre

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by guest critic Archie Whyld

A dozen or so of us were led to the roof of the Royal Festival Hall where we were told to expect: ‘A multi-sensory encounter of shifting sound, colour and light, which reinvents the gig-going experience as a site-responsive close-up standing performance.’ Whatever that is.

The roof space of the building has a boiler room, pipes and generators claustrophobic submarine feel and we were gently led through it by the actor, performer, musicians The Neutrinos and visual artist Sal Pitman. The guitarist checked his pulse, and then he checked mine, and then he gave me a nod of reassurance.

What was going on? The live music alternated between industrial electronic noise jazz and hypnotic acoustic, haunting lullabies. The projections and colour-scape, provided at points by an old fashioned slide projector, combined with the music and submarine architecture, to create a dreamlike and otherworldly experience. There was no narrative to speak of, other than the mention of breaths – 800 of them. Is this the number of breaths we take in an hour, the length of the performance?

Proceedings culminated with a projection of a cloudscape on the ceiling and the audience being led outside on to the roof of the building to be exposed to the air and the beautiful summer London skies. This is a beautiful moment. Is it theatre, though?

Depends on your definition. Post-dramatic theatre probably, in that there were no discernible characters, nor was there an apparent plot. It favoured feeling and mood rather than action, and in this respect it was hugely successful.

KlangHause: 800 Breaths runs through 23 July.

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Dirty Work (The Late Shift), Battersea Arts Centre

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by guest critic Rebecca JS Nice

Esteemed company Forced Entertainment fill the council chamber of Battersea’s old town hall with an enthused audience who laugh and snigger at the text presented to them. The performers are framed by a false, red curtained, proscenium arch that forms, like the show itself a facade: a description of something without being either of itself or the thing it describes. An hour and fifteen minutes runs with Robin Arthur and Cathy Naden taking turns to speak.

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Day Two at Buzzcut Festival

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Part of the reason I wanted to come to Buzzcut is that I find it hard to write about live art. I don’t dislike it, far from it – I have a broad but uninformed appreciation of it. But my theatrical home is built from Shakespeare, text-based narratives and the great American playwrights. I’m no Megan Vaughan or Rosie Curtis – I see performance art every now and again, but not nearly enough as I should. So the goal is to see a lot of live art, and write about. The range in styles and approaches is vast and the festival draws live artists from around the country, so it’s a great place to experience this form of performance.

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Day One at Buzzcut Festival

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Actually, it’s the second day of the live art festival at the Pearce Institute in Glasgow but due to work, I couldn’t make the opening day. So in order to save travel time, I lost by Megabus Gold virginity and took the overnight sleeper coach. Unceremoniously dumped in Buchanan bus station at 6:30 am after an intermittent night’s sleep, I chugged a coffee (after being laughed at for attempting to order a flat white) in the station caf before heading to my digs, then navigating an unfamiliar city’s public transport across town to the Pearce Institute.

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Celebration, Florida, The Albany

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by guest critic Tom Brocklehurst

Shows incorporating technology have become more and more common recently. This experimental show, Celebration, Florida, features two unrehearsed performers wearing headphones. Greg Wohead, the creator of the show gives them instructions, dictates to them what to say and where to stand, and what accent to speak in. Most of the time they are speaking as him – they have to imitate his American accent (badly) and ask us to picture them as him, standing in his hotel room in his pants, thinking up ideas for this show.

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