Journey of a Refugee, Stanley Arts

by Laura Kressly

In the Stanley Arts bar, Kassi, Ali, and Daphne hype up the audience for the arrival of a group of refugees. They’ve organised a welcoming party but plans change when only one person, Zain, arrives. He’s initially unenthusiastic about being the centre of attention. With some coaxing after hiding the main performance space, he shares his journey from Sudan using puppetry, dance, and narration. The promenade family show is inclusively crafted with striking design, but doesn’t romanticise his journey or patronise family audiences.

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JM Coetzee’s Life & Times of Michael K, Edinburgh Festival Fringe

by Laura Kressly

The South African companies Handspring Puppet Company and the Baxter Theatre have a world-renown reputation for puppetry and theatre, respectively. In this adaptation of the JM Coetzee novel, the puppetry is as good as anticipated, but the two hour-long, rambling story pushes the limits of audience patience and dulls the effect of the show’s message.

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Concerned Others, Edinburgh Festival Fringe

by Laura Kressly

Scotland has one of the highest drug-related death rates in the world. This suggests that addiction is woven into the country’s fabric and should be understood, but recorded testimony in this production tells us that society broadly holds the view that addiction is down to personal weakness or moral failing. Tortoise in a Nutshell impressively combine puppetry, animation, and installation with data and verbatim accounts to challenge this belief and other stereotypes about addiction.

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Caligula and the Sea, VAULT Festival

by Laura Kressly

Roman emperor Caligula has provided numerous artists with inspiration, and this year’s Vault Five artist Yuxuan Liu is no different. He has devised a new interpretation of Caligula’s story particularly focusing on the ruler’s megalomania, his queerness, and a bargain he made with Neptune as a young man in exile on Capri. Puppetry and set design effectively complement the script, and the prominent theme of nature’s power resonates strongly in the context of the climate crisis.

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The Magician’s Elephant, Royal Shakespeare Company

Vibrant, joyous and fun' - The Magician's Elephant at RSC reviewed - Sarah  Probert - Birmingham Live

by Michaela Clement-Hayes

Everyone deserves a happy ending, and as we head towards the festive season, messages of hope and forgiveness start to provide us with a real sense of magic. This is perhaps what the RSC is tying to do with its winter production of The Magician’s Elephant, based on Kate DiCamillo’s book. A young orphan is told by a fortune teller that he will find his sister if he follows the elephant. But there has never been an elephant in Baltese…or has there?

It’s a fairly traditional arc, with our suffering hero going on a journey of discovery, helped and hindered by plenty of interesting characters. It begins with a mesmerising opening scene. A magical narrator (Amy Booth-Steel) introduces us to the town and her sleight of hand provides ripples of anticipation and excitement around the theatre.

Our hero Peter (Jack Wolfe) is excellent. Naive and curious with an excellent voice and stage presence, he is totally believable as a young boy looking to belong. The police chief (Forbes Masson) provides the comedy, while the young couple (Melissa James and Marc Antolin) guide our hero on his quest. Antolin and James are wonderful to watch. Their chemistry is genuine, but their sadness is heartbreaking; in spite of this their concern for Peter is very natural and touching. Summer Strallen plays the ‘villain’ – a spoilt, childlike countess who is incensed that the elephant’s arrival has stopped people talking about her. But the real star is of course the elephant, which is an impressive feat of stage design and incredibly realistic. The lighting works well to create a mysterious ambiance which is effective and intense.

It’s a lovely story, with simple songs that children will enjoy and a nice sprinkling of humour for the adults. Although a good production, it feels quite safe and there’s little to make it stand out from other musicals. At times it is very hard to hear some of the actors, especially those speaking quickly. There are also certain topics that make the story very dark in places and almost unsuitable for very young audience members. That said, this is still a magical production that leaves you with a fuzzy, festive feeling of joy.

The Magician’s Elephant runs through 1 January.

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Aamira and Gad, VAULT Festival

Image result for aamira and gad, vault festival

by Zahid Fayyaz

A site-specific play with a slight immersive element for the audience, this is the latest
production from new company Bee in my Beanie. They establish a framing sequence consisting of the Archivist Society looking at a ‘story’, with the head archivist portrayed as a magnificent, giant puppet. This is mainly the story of Aamira and Gad, two children on opposite sides of a border conflict, forced to come together following a sudden loss.

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What the Dolls Saw, VAULT Festival

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by Laura Kressly

A master doll-maker has died, leaving behind a fractious and fragmented family. His widow is a nostalgic former actor, his eldest daughter Christine is a lesbian true-crime podcaster from his first marriage, middle daughter Zara is a petty criminal living in the US, and his youngest, Meg, is a children’s book author. As they gather for the funeral, Christine reminds them of their long-missing Aunt Lily, mum’s twin. Now that their tyrannical father is dead, it’s the perfect time to get to the bottom of her disappearance.

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Dead Dog in a Suitcase, Lyric Hammersmith

Image result for dead dog in a suitcase, kneehigh

by Laura Kressly

John Gay wrote The Beggar’s Opera in 1728 to reflect a London ridden with corrupt and dangerous politicians, inequality and violence. Not much has changed in those nearly 200 years, then. Kneehigh updates the story to a rundown coastal town where all the citizens resort to cold-hearted ruthlessness in the name of survival, resulting in an extravaganza of murder, betrayal and spectacle.

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Monkeys Blood, Vault Festival

Image result for monkeys blood, vault festival

by Laura Kressly

There’s a world of difference between London and the impoverished estates in Britain’s small towns. Mickey grew up on one in Hartlepool, a place famous for its historic execution of a monkey mistaken for a Frenchman, the more recent fraud case committed by John ‘Canoe Man’ Darwin, and not much else. Some of the town’s citizens maintain its xenophobic, monkey-slaughtering legacy in the form of anti-Muslim and anti-immigrant protests, even though they’ve never met anyone off the estate. Micky escaped these attitudes through a successful career as a children’s entertainer – or so he thought.

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Paper Cinema’s Macbeth, Battersea Arts Centre

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By Laura Kressly

I’m a sucker for inventive adaptations of Shakespeare plays, so Paper Cinema’s Macbeth, a live-action, silent movie version, is hugely appealing. For 90 minutes a team of five use handheld cameras, desk lamps and hand-drawn illustrations to broadcast the story in visual form onto a large screen. Accompanied by a Celtic-inspired, cinematic score, this graphic novel/stop motion/object manipulation telling is enchanting – until I ask my companion, a Dutch woman who doesn’t know Macbeth, what she thought. 

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