I have wanted to see this play for such a long time. Having lived in Cardiff, knowing the area, the people, being half Welsh and writing for a predominantly Welsh based online magazine, the opportunity to see this in London where I live was too much of an opportunity to miss.

Iphigenia in Splott is a monologue piece based on one character, her travel through drink, drugs, poverty, her look for love and some position in the World. She thinks she finds a reason why she was put on this Earth, more than once, to find it cruelly taken from her grasp. We see her change emotionally, physically and mentally over a 75 minute period. A lifetime explored in just over an hour.

As expected – Iphigenia is nothing but spectacular. The character itself is vibrant, funny, and energetic. Iphigenia (played by Sophie Melville) is to some extent a parody of the council estate, on the poverty line person, that cannot only be seen in Cardiff but all over the country. But there is something that stops her being stereotypical. She isn’t a one dimensional character who puts a bad name on a community, a threat to society or others or is made fun of due to this. She is confident, she is abrupt but she is real and sensitive and after everything, a person.

The aesthetics have a somewhat Royal Court aspect to it – a simplicity but elements of theatricality and aim to impact. Basic staging and lighting, there are only 3 chairs that Iphigenia utilises, nothing massively inventive but aids in creating scenes in a pub, a club, her flat, a hospital and so on. Behind, a wall of lights, some broken, which look a little like blinds, which flash in colour and intensity at very specific moments to shock and throw the emotional impact in your face. It isn’t overdone though – it is minimal, relying much on the writing and on the performance itself. But it does give a theatrical element to the story.

The story itself isn’t necessarily one of anything that is unusual. The heartbreak in different guises has been told in lots of different formats over the last 20, 30, if not more, years. However, there is something new in the way that Owen has written this. We never really see the twists and turns coming. It is as shocking as if we haven’t ever heard the topics before, but written and delivered in such a way that it hurts nonetheless and shocks you to the core. Perhaps, we fall in love with Iphigenia – her approach to life, her impressions, her humour and when she is vulnerable, we don’t want the bad things to happen to her. Melville throws herself into the character – real tears and sweat and colour changing in her face at exertion and pain. She is so believable, that it’s hard to even consider that this is a fictional character and a play.

Ending by bringing her story back onto us, we are targeted and given guilt, even if not directly affected. There is a real comment on how others, especially those of a lower class or in poverty act as the guinea pigs or the collateral damage to pave the way for better processes, better services, better treatment. In a World and a country that seems to be disintegrating by the day, it is almost as if Owen predicted this. But at the same time, it is a story as old as time and one never changing.

Iphigenia in Splott is absolutely phenomenal. It is a real example of the hardships that some face, of how there isn’t always a happy ending or a magical turn around to some lives, of how many sacrifice a lot to help others without them ever realising it. It is emotional and comical and heartbreaking. I came away in tears at the pain I felt for the character but also at the real life problems our World faces today.

(5 / 5)

Spoiler – if I could give this production more than 5 stars, then I would. It has been a long time since I enjoyed and was so utterly transfixed by something as I was with Life of Pi.

Brought out in film form a few years ago, Life of Pi took Hollywood by storm with the interesting and unusual story of a boy who finds himself stranded on a boat, alone with a Tiger.

When I saw the film, I wasn’t as bowled over as everyone else seemed to be. My experience and reluctance was still in situ when I came to see Life of Pi but the promise of puppetry and somehow a boat on stage, made me want to see for myself.

Firstly – the performers were ah-mazing. The interaction and relationships between them was entirely believable, and if this wasn’t on a stage, you could easily believe the relationships that were performed. Each character was fully realised and even when they doubled up on characters, you forgot that you saw them as, say, the uncle beforehand. Costuming helped to some degree but the pure talent of the performers really sold it. The main character of Pi was hilarious and cheeky and such a likeable character. This made emotional parts of the story more intense with someone you like and want to look after. His cheekiness was everything a 17 year old boy would give and it pocketed itself in between the hard moments of turmoil.

The staging was magnificent – unlike anything I have seen before; the whole stage had points where the elements rose from nowhere, where Pi jumps through the stage shocking us, where it changes easily from a zoo, to a ship, to a boat, to a hospital room. Instead of painted set, the entire aesthetic was brought by light and projection – and this became innovative from typewriting style lettering to pin point the place and date, to a starry sky or fish swimming below the boat. This alone was immersive and transfixed me along with the narrative and performance.

And of course, the pièce de résistance, was the puppetry of the animals. From life size Zebras to small fish, the puppetry took on the same technique as debuted in War Horse – entirely believable, the little mannerisms and personalities of these animals came through with the flick of a tale or the twitch of an ear. The larger creatures featured the full bodies of puppeteers inside to help the movement and others helped with various maneuvering by others. But as amazing as these performers were, they were forgotten by the realness they brought across with movement of these puppets.

I will freely admit that I found myself in tears, not only at the narrative, but at the beauty of these puppets, as if they were real animals on stage. They were magnificent and entirely believable.

The less wholesome elements of the story, which features animals being eaten or blood and gore to some degree, is done extremely well and tastefully, using lighting, coloured fabric and ominous music to accompany. You cringe away as if it is real but part of you knows that it is only the well presented theatrics.

Life of Pi, whether you enjoyed the film or not, is one of the best things I have ever seen and is the ultimate must see in theatre. It is every part funny, emotional, awe-inspiring and beautiful. For a West End production, there is the gorgeous element of immersion with the beautiful stage design and the action is shocking and intense as the narrative is meant to be. This is a show I will never forget and have ever since, not stopped thinking about.

(5 / 5)

I heard on the Theatre grapevine about this show. Every word was good, if not amazing and therefore, I could not wait to see it.

Anyone who reads my reviews will know my love for the Royal Court and my opinion that they put on the most extraordinary of shows. They get better and better the more I go, but I really am not sure how they are going to top this one.

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy, is a brilliant production about being male and black with all its pros, cons, its comedy and utter tragedy. It highlights what you would not know if you were not part of that community and the unjust treatment given to general human beings. It looks at each character, their personal issues, past, present, future, the question of masculinity and masculinity as a black man and completely celebrates the community, through dance, music, literature, history.

Each performer is almost a principle character to highlight differences, similarities and to squash away stereotyping. We have the hard character who is angry at the world, the studious and book smart one, the shy one who has also struggled with whether they are black after being brought up in a white community, the queer man who still hides in the heterosexual shadows and so on. While quite simply laid out, when we get into their stories, we realise they have experienced things that we would never expect. Domestic violence, sexual abuse, physical abuse. This highlights how the characters are not just 1 dimensional. They have many layers.

The performers were amazing – with genuine chemistry, effortless performance and tongue and cheek fun, these men seemed genuine friends and as if we were watching in on a group of real people in ordinary life. Only when there are dance cut aways and theatrical elements, do we remember that this is a production.

The elements of dance and physical theatre was astounding. It felt just and as if it fit in, with everyone involved and doing it fluidly, precise and mesmerisingly. Not only did it add to this brilliant production but it heightened it as an astounding piece of theatre.

There is a wonderful balance between these hard hitting stories and absolute belly aching laughter. Some bypasses those not in the community, but the joy heard from others in the audience who it relates to laughing, calling out – there was a comradery and a community setting in just this audience alone. And there was something for everyone – something every person, race, class, age could relate to and therefore, no one felt like an outsider or alone.

For those not in the community, this is a huge learning experience. We get to know of things from the black community, both positive and negative, and some is extremely shocking and un-thought of. I felt more educated and more of an ally than ever before.

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy is equal parts hilarious, joyful, painful and hurtful – it is an education for those in the black community and for those not. It is such an important piece of theatre for every. single. person.