(3 / 5)

If, like me, you don’t really know about Yootha Joyce, then
you are in for a treat.

Caroline Burns Cooke brings her whole story, from her birth
on Wandsworth common, through Yootha’s fantastic theatrical and sitcom career
(and all the personal stuff alongside) to her death and alcoholism at age 53.
You do not need to know Yootha to enjoy this intriguing, hilarious character,
with a hint of nostalgia and glamour.

Cooke performs as Yootha, and many other character’s through
this woman’s life, in what feels like one in take of air. She changes in
physical form, from Yootha to an agent, a past husband, all with hilarious
quips, foul language and the odd song. It is no argument that she shows what
real glamour this woman was.

Cooke is very good at engaging with us – this may be a one
woman show, but hell does she keep it this way. She flirts with the audience,
agrees with them, ad libs and jumps in between us. She may be storytelling, but
we are not just mere witnesses; we are part of the journey.

As engaging as she is, as I said, it does feel like one
in-take of breath. Yes, there are emotional parts, that slow down the scene, taking
you from laughing at a remark about grubby Clapham Grand, or ‘Crap-Ham Grand’ to
the realisation of age and time wasted. But the rest is very fast paced, and at
times you feel like you are playing catch up a little with where we are, who
Cooke is at that present time and what is going on.

Now, as someone with little knowledge of Yootha Joyce, it
could be that she in emulating her personality, and therefore this is very
clever. But someone who may not know, it felt a little rushed through, and
mostly I wanted Cooke to just take a breath in the room.

Testament of Yootha is a fun, engaging production and a great example of a one woman play – it just needed some time to settle in the room and therefore let us catch up with this woman’s dramatic tale.

(3 / 5)

Everyone loves a Greek Tragedy – the Ancient Greeks had an
amazing way of telling stories, way beyond their time, with comedies, tragedies
and so forth, elaborate and convoluted (in a good way!).

The Bacchae, by Euripides is nothing short of this. The
story follows Dionysus, who carries out punishment on his Aunt and his cousin,
after their continued disbelief in him being the son of Zeus. What entails is a
story of deceit, blood and gore, and heartbreak.

Esmond Road Productions have modernised this – Dionysus and
his cronies are dressed in neon festival-chic attire, reminiscent of 90’s
ravers, notably taking pills and enjoying all life has to offer. His cousin,
Pentheus, has taken a more middle class, and political approach, showing stubbornness
and false maturity.  These contrasting
groups define the war zones and for whom each party is a part of. It is a clear
distinction in characters and makes this modern take very interesting.

However, the beginning gets off to a great start – a very
emotive Dionysus, who is engaging and with sultry tones to her voice, easy to
fall into her storytelling. But this party-rave-drug taking group lack a little
in this concept – a moment of them really raving to some techno, or a scene of
debauched fun would have solidified this and made their characters a little
less passing.

There is a brief lull midway, and at times feels as if this
is the part that has a little less work. It’s a shame for this lull, mostly
inhabited by normal conversation; it is understandable that this is part of the
story but perhaps another take on this would make it more engaging.

It is soon picked up at the end, when we see the tragedy
that Dionysus throws upon his cousin and her mother – there is genuine tears,
emotion and this is where we are thoroughly engaged – we feel for the
characters, we believe their pain and this moment to stop and take this in, pacing
the speech and actions, creates a very emotive and thoughtful ending.

The Bacchae is a great idea with its modernisation, featuring some great talent starting the piece and following up at the end, but lacks somewhat in the middle. With this part worked on, this piece could be very engaging all the way through.

(3 / 5)

A philosophical play – what happens when your whole word beliefs are shattered? Who are you? What has or is your life about? Rabbits in the Precambrian tackles this thought with comedy, contemplation and interesting character development.

Wrong Shoe Theatre Company, fresh from Royal Holloway
University and The Front Room Croydon’s resident artists bring the story of a
group of people contemplating life and existence, with the help of a con artist
Guru. It features slapstick, clever writing and a conclusive ending tying up
all loose ends.

We see the differences in relationships, with the writing
allowing the characters to contemplate their own worlds and interests –
everyone has as big a role as the next, hitting areas not unlike a sitcom as
they interweave into one another’s stories and lives.

The actors themselves do well to create their own in-depth character
– two married couples, both with a lecturer half and the other a little unusual
in their interests – they compliment each other but at times it feels a little
like the males are very similar and the females are just the annoyed wives.
Perhaps a reversal in roles could make this more interesting and balanced in
the controversy of gender roles in today’s theatre.

There is a balance of slapstick humour and then philosophical
discussion – both being very well done, it felt like the two still needed to
gel a little more, crossing over into one another to compliment the unusual
storyline.

Particularly the character of Reed, played by Liam Crocker,
was excellent. He struck the right balance of hilarity to rationale – when finding
out that his life’s beliefs are disproved, his downward spiral is believable,
but his character is quick witted, comical and we relate to him and his disbelief
of the unusual events. Moments of monologue are directed to each of us, and we
feel included, the fourth wall breaking down, and it creates a nice moment
between us and the character.

The Guru, while part of the main plot, is also a great comic
relief. Think middle class, hipster kid, meets spiritualist. She strikes the
right vocal notes for this character, making her wistful and flakey but at the
same time a believable con artist.

The ending felt like a little work was needed – as a theatre
creator and at times writer, ending a piece is always quite difficult and I get
that once all the questions are answered, it is sometimes at a loss on how to
do this; and this is what it felt like was a minor struggle at the end. While
the final note hit the nail on the head, a little work on how to get there
could absolutely solidify this ending.

Rabbits in the Precambrian is full of fun, comedy and rational thinking – A play definitely worth seeing and to keep an eye on through development.