Tag Archives: Hannah Goslin

Review Into The Hoods Remixed, Peacock Theatre, By Hannah Goslin

Into the Hoods Remixed

Zoonation

Peacock Theatre

06/05/16

 out of 5 stars (4 / 5)

Audio file of review 

Within current theatre, diversity is a huge conversation topic and issue in the industry.

When you hear ‘hip hop’, ‘street dance’ and ‘the hood’ our minds across the board think of stereotypical urban scenes, characters and storylines. ZooNation are a fantastic company – from difference in race, ability, gender, body types, the troupe of dancers range in all these aspects, and not to make a point but because they are talented, passionate and perfect for the roles.

It is refreshing to see that there is comedy played on the stereotypes that is thought of urban areas and ZooNation uses the ‘Into the Woods’ story to transform a once predominantly white European Grimm Fairy-tale–esque story into a modern and comical production.

As a former street dancer, I have noticed over the years the transformation of the industry. Coming from a popular era where street dance was fluid, to the past few years where popping and locking has become more common, ZooNation combine not only  choreography that you cannot take your eyes off, but they introduce contemporary dance, break dance, even 1920’s flapper moves. This with the combination of a range of music from the more hard core hip hop, to 70’s favourites, the company creates a clever illusion of this fantastical world.

It is usual that a play has one main character, or a performer who stands out. Into the Hoods Remixed makes this decision hard. The concept of the story line – a fairy-tale land where we meet all our favourite characters from Cinderella to Rapunzel [Or in this case, Spinderella and Rap-un-zel] the principal characters are abundant – and so are the performers. Not a single performer is unable to embody whatever character they are, and this is implemented through their dancing, never breaking character. This troupe not only compete for the limelight, forcing us to love them all for each individuality, but also show that as a team and a dance group, they connect well and play off one another with great skill.

The set itself is fantastic – well constructed visuals of tower blocks, cartoon characters running through the backdrop and minimalist prop and staging helps us to create the scene. In addition to this, the voice over narrator occasionally setting the scene and the performers brilliant execution, Into the Hoods Remixed does nothing but leave you astounded and with a huge grin on your face.

ENO Season Launch 16/17 by Hannah Goslin

https://d2ae1n566nbglo.cloudfront.net/wp-content/uploads/2016/05/04191332/2-Season-400x300.jpg

ENO

[English National Opera]

Season Launch 2016/2017

Audio file of written text is below

https://soundcloud.com/user-763014624/eno-season-launch-1618

It’s been a tough year for the ENO.  Over a year ago Arts Council  England warned the company that unless they were to figure out their business plans then they would face cuts to their funding. And so it did. A 5 million pound cut was issued on the company. If this wasn’t enough, several resignations have caused a threat to the future process of the ENO.

Lucky enough to be invited, I attended the season launch where the management team aimed to not only excite us on the upcoming year but also to eradicate any lack of confidence in the company after such detrimental events. The new artistic director, Daniel Kramer – from what it would seem, a veteran in directing through theatre, musicals and predominantly Opera in the last year, made an appearance to instil confidence in us. His passion of the industry and positive attitude to overcoming the past year or so gave a smiling safety jacket to industry interest.

One brilliant aspect that I found interesting from the season launch was the company’s ethos in their target market. Ballet and Opera is forever known as a white middle class past time. The company has released a scheme which, while not new, they insist is tried and tested from previous years. 500 tickets per performance for £20 or under to bring in the masses who find the West End and London theatre difficult to purchase. Ticket prices can be off putting – and the knowledge that those who can afford high prices are possibly those who you would not normally associate with. By making performances more accessible, this clever idea is appealing to the unusual Opera goers. But this does not stop there; ENO are producing performances that artistically are not the usual Opera. The production of ‘Lulu’ really stood out to me – as one who is used to the proscenium arch, heavy costumed and heavy make upped performers in Opera, video footage of this performance with its avant-garde noir set and visual effects appealed to me immensely. Kramer also insists his eagerness to bring musicals to the ENO – purely to show the company’s versatility and bring in a different audience who would not have even entered the building previously.

And the ENO has not stopped there. With a large period where the in house orchestra and performers will not be residing at the Coliseum, outside companies will be hiring the space. Another nod to their expansion in audience interest.

 Where will the company be during this long time? The ENO are bringing themselves to the larger horizon – Hackney Empire, Southbank Centre, and all the way to Blackpool Winter Gardens. The company’s insistence to open up to the masses cannot be ignored, and seems they will not stop till they are acknowledged by diverse groups.

A slight novice to this niche part of the arts industry, my lack of knowledge is not for want or for avoidance – but due to a lot of issues raised on price, market audience and general Opera stereotyped culture. These business implements, to me, seem an intellectual idea and one that has immensely appealed to my curious yet ‘common’ interests.

Review Cyprus Avenue The Royal Court by Hannah Goslin

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We enter a small but perfectly formed room with a low level traverse stage. Completely white and clinical there is nothing in the room but the audience areas and 2 chairs in one corner of the square carpeted staging, and one chair diagonally in the other with a small table containing a jug of water and a glass. Very minimalist, the area is open to the unfolding of absolutely anything.

Based in Belfast, we meet Eric played by Stephen Rea who is well known for recent television programmes such as War and Peace and Dickensian, and his counsellor Bridget played by Wunmi Mosaku, who sit the furthest opposite each other as they can be. The story unfolds from the point of view of Eric reminiscing past events that have lead him to this current situation. We begin with the simple sense that the man needs help and this is all it is. As the hour or so passes, his insanity becomes even more palpable and chaotic leading to actions and events that are dark and for the audience, shocking.

The play cleverly plays on cultural, emotional, political and religious identity. The main concept is of the Catholic and Protestant war and prejudice in Ireland. Eric representing the North consistently professes that he doesn’t hate Catholics or the South, yet his rants and racist wordings express otherwise. Cleverly, the use of a black character in the counsellor highlights the sheer ridiculous nature of Eric in feeling these ways – unintentionally relating to African and black culture in a racist manner, the counsellor turns this around to show that there is no difference in cultures if they were to go simply by his description. With the state of theatre at the moment looking into the diversity of actors, Wunmi Mosaku’s character has the most brilliant line noting that she is not African, she is British. Being born and bred in Britain, this is her identity and this, intentionally or not, pokes attention to the current theatrical world and its lack of diversity and the absurdity of this. Just as Eric is Irish despite being in the North, and Mosaku’s Character Bridget is British and not African, the casting of characters should be based on their talent and not based on their race, ability, gender or orientation. It is no one’s business what you are, but what you can bring to the table, which Bridget points out is wrong with Eric’s stereotypical view of the world.

The writing of the play is so intelligent, that a lot of comedy comes from the irony of the situations but along with the actor’s brilliant portrayal, the sense of timing and take on the words makes the majority of the production extremely funny.

This is what makes the slow building crescendo even more shocking. Eric’s mental state deteriorates more and more over the hour to lead to a huge case of seeing red and committing horrendous atrocities. The well-constructed violence in production is so realistic that writing this review and remembering this still makes me queasy. The once white and clinical staging becomes messy with mud, items thrown across the carpet and blood leaking from the floor. Symbolising Eric’s mind, his once innocence is tainted and becomes very dark and messy. While slowly building and pushing you into a sense of false security with the comedy, the ending where chaos ensures but suddenly stops, returning to where we began in Eric’s retelling of the story. We are left shocked and amazed at this story, on this stage, at this moment in time and the beautiful performances by the actors in this production.

Looking around the audience, not one single person looks relaxed as if their thoughts of the story presented on stage had still to be resolved. Being left vulnerable as an audience and to change preconceptions is quite a skill, Cyprus Avenue written by David Ireland and directed by Vicky Featherstone achieves this beautifully, disturbingly and intelligently.

Review X The Royal Court by Hannah Goslin

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The stage is white, clean and leaning downwards towards us. As the ‘curtain’ which is more of what looks like the outside of a ship is lifted, the staging continues this colour scheme but is constructed with a huge crack in the middle. Are we in a submarine? The large window where nothing can be seen could be a more futuristic decoration to the current submarine style, a large ladder to the side of the stage into the ceiling makes you feel as if you are under something. And the stage is silent. The two characters mill around, looking quite anxious, Jessica Raine’s (known for her debut in Call the Midwife on the BBC) looking the most intense, munching nervously on dry cereal. So many questions arise as the characters begin to talk, and you find yourself becoming as anxious as them as you are unsure what they are talking about, without any previous knowledge of events.

As we begin to understand the premise, X (written by Alistair McDowall and directed by Vicky Featherstone) is the story of an abandoned space team with no communication to a future concept of Earth. The world has begun to die, food is made in labs as animals and plant life are long extinct. Technology has long taken over from tangible things and the use of an older character reminiscing this in comparison to a younger generation pointing out the more technologically advanced versions hits home to how we are slowly becoming like this existence. X looks intently at the sense of time – how closely we rely on morning, noon and night, how our bodies unknowingly rely on this and how this can affect us. The combination of all of these elements shows the slow deterioration of the characters sanity, with clever back and forth scene changes from the past to the current. We’re never really sure which is which, along with being consistently plunged into darkness for a scene change, we feel anxious and lack a sense of time ourselves. The production very intelligently brings us into the action this way and makes you as confused as the characters.

Soon there is a very Sci-Fi horror take on the production. The story telling of seeing a girl with an X cut across her face, movement and sounds in areas of the ship and outside that are impossible and the interaction with characters that apparently do not exist. It feels like a Doctor Who episode, with a little less comedy and more adult themes. The same use of black outs, the violence and gory scenes throw at you push you into the situation and characters feelings; the actors using their abilities to consistently be in this state, it is a real testament to them that the constant confusion and high intensity anxiousness doesn’t leave them just as insane after the production has finished. As I was sat on the edge of a row, the darkness and non-rhythmic music made me feel vulnerable, half expecting for lights to flick on quickly and find some scary alien like character staring at me from the aisle.

Ending the production, the scenes leading up to this are emotional, fast paced, almost uncomfortable. X is so brilliant with doing this, that the calm ending where Raine’s character once left alone, has a daughter who continues the abandoned life in this space hub, seems unfinished. While in a way it is resolved and gives us the chance to calm down, it makes you wonder what putting us in such fearful situations was for. However, this is answered with the sense of loneliness, the loss of the sense of time, the emotional and intensity of the production; nothing is resolved. We still are left not knowingly what happens to this space hub.

X is beautiful, yet scary, evoking a rollercoaster of emotions and to be able to combine such opposite elements is a testament to the production, the actors and the writing. Going home, it certainly makes you think: What will we become?

Review Hand to God Vaudville Theatre by Hannah Goslin

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One of the most anticipated shows in the West End, Hand to God is an unusual play using the combination of live actors and puppetry. A fully adult play, and not for anyone with a sensitive side to the taboo, Hand to God’s description sounds an awful lot like Avenue Q and this is possibly a comparison they have encountered many a time.

As one who has not seen Avenue Q but fully aware of its popularity, this production produces all the elements that makes it not only different but wildly adventurous.

Based in America in what would seem as the Bible Belt, the premise of the play is a combination of characters who all are a little strange to say the least. Based in the basement of a Lutheran church, Margery runs a puppetry class aimed to bring the idea of God to teenagers. Margery’s husband recently died of a heart attack and it soon becomes evident that this is her coping mechanism. Among the class is her son Jason – our main character who also uses this class as a way to help with his grief; his interest in puppetry becomes evident with his developed sock puppet, both in the making and in the performing. Other characters who fail to be up to his standard in puppetry are a sweet and naive young girl Jessica and a troublesome boy Timothy who is in love with Margery. We have Pastor Greg, a kind soul who plays the God loving stereotype which makes the comedy all the more better when this character is purposely broken. And finally, while not real life character but especially important, Tyrone our main puppet. He is filthy, angry, hilarious and seemingly possessed by the ‘devil’.

While filled with comedy, the play aims to make controversial points about religion and the how and whys of how it has come into life. It points out the good and bad of feelings, thoughts and actions and how these have been developed with a book of stories and omnipotent ‘characters’. This however is challenged by what would seem is a possessed puppet with its own mind and control over Jason. Not only scary, the scripting and premise borderlines, a horror film and The Muppets.

Harry Melling, best known as Harry Potter’s cousin in the movie series, is an incredible performer. As one who admires puppetry as an art form and performance technique, Melling’s execution of Tyrone is astounding and impressive. Somehow he manages to bring every emotion, every thought process and the controlling nature of the puppet over Jason to life. Changing from Tyrone to Jason, he easily and very quickly is able to change his voice, personality, facial features and over all characterisation from one to the other with no falter. In this, you soon are lost in the two characters he portrays and find yourself looking at the puppet as another actor.

Full of sex, language, comedy and a funny two fingers to religion, Hand to God is a fun loving and clever production which without the skills and execution of the actors (and puppets) stands out on its own leg to anyone who thought that a live actor/puppet production had been done before. I can tell you, it has not!