All posts by Hannah Goslin

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Dance, Theatre

Review Caitlin, Light, Ladd & Emberton, Theatr Brycheiniog by Hannah Goslin

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out of 5 stars (5 / 5)
 
As a huge fan of Eddie Ladd, Deborah Light and Gwyn Emberton, I have been excited to see Caitlin for a long time – missing the chance when it came to London, my visit to Brecon happily coincided with their Welsh tour.
Directed by Light and choreographed and performed by Emberton and Ladd, the story of the piece is based upon the poet Dylan Thomas’s wife, Caitlin, her turbulent life with the Swansea celebrity and her alcoholism beginning before and continuing after his death.

Set out in a circle of chairs, the story unfolds before us as an AA meeting but the words are simple sentences and the rest purely physical.  The chairs soon became metaphors and symbolism for lovers, baby chairs and Thomas’s gradual success until his death where he  (literally) falls from grace.
https://youtu.be/_21dOoSAqWc
I do feel slightly biased in the fact that these three dancers are such huge inspirations to me, but I couldn’t express how fluid and creative the movement were.  Times where you could only imagine pain and impact of the body seemed so gentle and as if they did not hurt the performers was astounding.  And they used every bit of space and every chair.  It was a wonderful take on Caitlin’s life.
My only argument would be that I wanted more of the physicality and less of the chairs. While I completely understood the reasons behind the chairs, as a fan I just wanted more – perhaps that’s just me being greedy!
To accompany, the music was interesting, with no social/cultural significance but only to heighten the movement. And no particular theatrical lighting, giving the room a naturalistic feel rather than something created for theatrical purpose.
Caitlin, as all of Light, Ladd and Embertons work as a group and as individuals is a triumph. A beautiful representation of love, addiction and pain.
Directed by Deborah Light
Devised with and performed by Eddie Ladd and Gwyn Emberton
Sound by Siôn Orgon
Costumes by Neil Davies
Images by Warren Orchard
http://www.gwynembertondance.com/caitlin/
Caitlin – spring tour 2017
27-28 March // Aberystwyth

Home


2 April // Laugharne
https://www.eventbrite.co.uk/e/caitlin-by-light-ladd-emberton-laugharne-shows-tickets-31967232854
5 April // Theatr Brycheiniog, Brecon
http://www.brycheiniog.co.uk
8 April // Theatr Ardudwy, Harlech
http://www.theatrardudwy.cymru/
11-15 April // Chapter, Caerdydd/ Cardiff
http://www.chapter.org/caitlin-0
21 April // Ffwrnes, Llanelli
http://www.theatrausirgar.co.uk/en/
23 April // Llandrindod Wells
http://dawnspowysdance.org/events/
25 April // Barry Memo
http://www.memoartscentre.co.uk/events/caitlin-2/
28-29 April // Galeri, Caernarfon
http://www.galericaernarfon.com
4 May // Taliesin, Swansea/ Abertawe
http://www.taliesinartscentre.co.uk/
 

Dance

Review Wild Card, Dan Daw, Sadlers Wells by Hannah Goslin

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out of 5 stars (4 / 5)

Over at Sadler’s Wells we were taken into a smaller studio to the side of the usual theatre. This venue was very welcoming and intimate which I thought was ideal for the dance come performance arts pieces.

Both pieces were conceived by Graham Adel noted for his work challenging the social norm  and focussing on people.

First half of the show was a piece called Gender F**k (er). Featuring one woman, Keren Rosenberg, the 50mins performance aimed to cross the barriers of gender. A relatively slow piece, Rosenberg transforms her body from masculine to famine throughout with astonishing movement and physical change. There are times where clothing or props are used to help create these different ideas but the transformations are fluid and at times mixed showing stereotyped differences but also highlighting realistic opinions of little difference .

Very adult in its content, it is quite raw and almost hypnotic as Rosenberg manages to fill the space with her movement.

The second half saw Dan Daw in On One Condition.  The set was a like a above view / blueprint version of his family home giving it anonymity but also taking away any emotional ties.  The piece shows his life in a snapshot with short spoken tales and movement to catchy music.

 Daw has a disability that affects his movement but uses this to create beautiful images and movement highlighting a key message in the piece about not letting things stop you in your dream and the ability for everyone to do anything.  It isn’t a hindrance but actually inspiration and used to its advantage.

He’s also very comical, not only poking fun at himself and at his disability but wider humour in satire of dance themes and genres.  What I loved so much about this piece was the sheer intelligence in the concept and creation but also the honesty.

Two very different pieces, it was interesting to have a mixture of concepts and the clever ways both Graham and Dan Daw create a narrative; sending out vital messages about today’s society.

http://www.sadlerswells.com/whats-on/2017/wild-card-dan-daw/

Theatre

Review Custody, Ovalhouse by Hannah Goslin

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out of 5 stars (5 / 5)

It is hard to ignore a storyline such as Custody.

Based in Brixton, Custody, created by Urban Wolf and written by Tom Wainwright tells the fictional tale of a young black man’s death in police hands.  As we have seen over the years of news reports with the similar headline but we only see the headline as voyeurs. This production takes the heart and soul behind these and gives them a face in a 2 year play by play of how the family of this fictional yet very real character process through this tragic event.

There’s moments of comedy for light relief, a little of black humour and satire of stereotypes but also such fantastic theatricality.

While there is music, the performers create soundscapes through sound and words. They build this into themselves physically and while it would seem a low physical production, you can tell it takes much hard work and perfection to get all of the timing and embodiment just right.

And the set is fantastic.  Move able, dark and deep to bright, white and clinical.  We never meet Brian he is spoken to as if he was there but we essentially feel his presence in the performers emotions.  And these emotions are natural and relatable.

Attention to detail is key – the weight of Brian’s memory is represented by bags that each performer wears, very little are these let go until they let go of him.

Custody is everything you want in a production, it has heart, theatricality and sends a message.

http://www.ovalhouse.com/whatson/detail/custody-by-urban-wolf

Uncategorized

Spice Time Credits- The day I went from Londoner to Tourist

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As some of you may or may not know, Get The Chance Wales has a lovely relationship with Spice Time Credits.

As reviewers we earn our credits from our reviews and they can be used for pretty much anything.

Today is my last day in London for a while as I traipse off to America for a bit. As a self confessed Londoner of 2 1/2 years I thought I’d be a tourist for the day and use my Time Credits.

I previously took my parents to the Tower of London – astounded at the money saved and value of experience we got from this.

getthechance.wales/2016/08/17/spending-time-credits-tower-london-hannah-goslin/

Today I saw parts of London I had never seen- views from the MBNA clipper that floated us down the Thames, going crazy fast when water seemed more open – which was tonnes of fun.

The famous Tower Bridge- looking down at the small ant like people below through the glass floor. Queasy feeling this experience but ever so cool none the less.

As most Londoners know – most things are within walking distance. So I trotted up to The Monument. An almost non recognisable statue in a city of architecture, The Monument is to commemorate the Great Fire of London.  Inside are 311 steps – and boy does it feel it! While I’m hardly fit, even the fittest struggled but it’s well worth it for the beautiful view at the top and the certificate you get at the end for climbing it.

Finally a short distance away is St Paul’s Cathedral. Well recognised and providing cameos in plenty of TV and films, it is a highlight of London. Inside is ornate and rich, the ceilings phenomenal and gold, with beautiful imagery. To reach the very high up whispering gallery in the main dome, it’s another never ending staircase but very much worth it for what you see.

Time Credits have allowed me to experience parts of London I do not think I ever would have chosen to see on my own and felt like a wonderful reward.

http://www.justaddspice.org/get-involved/get-started-with-time-credits

Theatre

Review, Big Guns, Yard Theatre, by Hannah Goslin

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out of 5 stars (3 / 5)
In The Yard, this quaint and interesting theatre in a industrial state is flooded in red lighting, with two ladies eating popcorn, 3D glasses on and sat comfortably in a cut out piece of staging.
The music is ominous and leads us not to expect what we will witness the next hour or so.
Basic in its approach, Big Guns is filled with lighting changes from house lights, the red flooding, darkness and torches. The ominous music constantly giving us this uneasy feeling.
The performers perform a hour long duologue which aims to delve into the violence, danger and fear of every day, this increasing in today’s society. And while this is essentially a duologue, I was dubious a few minutes in as to whether this was all there was and was it worth it.
But somehow, the way the performers brought the stories, the thoughts, the emotions, the sense of fear was well done and I increasingly felt uneasy and a little scared of my walk home.
With recent attacks in London, daily negative news on our television screens and newspapers, the presence of social media ever apparent, the narrative hit the nail on the head and summed up our ever increasing danger.
Big Guns is certainly an interesting piece of theatre with an unusual approach and interesting set, lights and sound.

 

Theatre

Review Kicked In The Sh*tter, The Hope Theatre by Hannah Goslin

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out of 5 stars (4 / 5)

Back again to The Hope which is always full of quintessential good writing and interesting drama.

Kicked In The Sh*tter is by Leon Fleming and directed by Scott Le Crass who are known for Sid which previously played at the Sherman Theatre, Cardiff . The play aims to look at the welfare state, at mental health, the two coinciding and in between this, relationships and trying to live.

The production is ambiguous and simple in its attire – Fleming notes this in the programme as making the narrative be relatable and able to be placed anywhere but also to not avoid drawing attention from the storyline. And this all works well – a lot of productions at the moment are adhering to this and it is welcomed when a lot of productions think that special effects and pomp and circumstance is needed to make an impact. While as a theatre creator myself, these are all aspects that I like to explore, something so realistic and relatable does not need such accessories if it is good writing.

The performers of course do a great job – switching from their younger days to current day, they manage to change their approach to show the distinction.  The fact that they bounce off each other works well for a brother and sister relationship and when emotion is needed, awkwardness, a sense of struggling to help or accept help, we can relate to how they portray these.

A weird and subtle addition that I really liked was the stage movement – the sister does this always, with the brother watching, adhering to the essence that she has been left all responsibility. Subtle and small but I loved the attention to detail.

Despite all these good points, it was a good piece of theatre and I enjoyed watching but it did not astound me. But I cannot understand why. The elements were all there and Kicked in The Sh*tter should definitely been seen, if not only to be entertained but informed in the issues highlighted… there was just a spark that was missing for me.

 

Theatre

Review, A Profoundly Affectionate, Passionate Devotion to Someone (-Noun), The Royal Court, by Hannah Goslin

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out of 5 stars (5 / 5)

Again, The Royal Court does nothing but astound us with its epic writing and unique staging.

A profoundly affectionate, passionate devotion to someone, written and directed by Debbie Tucker Green sees three relationships, intertwined and the love, passion, hate and pain that comes with being with someone.


What The Royal Court is very good at doing is by not masking the fantastic writing with bells and whistles. Set a little taller than us, the action happens around three edges of the squared room, where the performers move from side to side, from story to story – us being on chairs that rotate giving us the sense of choice as to whether we engage in stories that feel so private.

The performers are phenomenal – with such fantastic and funny writing they are open to exploration of feelings and expression and it feels very natural, very at home and pulls at our heart strings and our emotions.  We relate to the stories and relate to the characters, their emotions and circumstances. And it is evident that the performers are invested in their characters – not one break of it, not one slip, and when not the initial focus, their characters continue out of the spotlight.

Another triumph for The Royal Court- another fantastically written piece executed to perfection.

 

Theatre

Review Yamato, Peacock Theatre by Hannah Goslin

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out of 5 stars (5 / 5)

Japanese drumming seems like an odd production to have at a well renowned dance theatre. But bear with me – it is not just drumming.

My interest has always been grabbed by Asia, especially Japan. Last year I visited Tokyo and saw what we all think of in Japan – a mixture of tradition and unusual things. My very small and brief cross with Japanese drumming was at the Robot Cafe where giant drums played by smiling men and women in bright clothing came inches away from my face.

So my expectation was a little different – I expected something more traditional and more quaint I suppose. I was surprised, shocked and entertained like never before.

Yamato bring the essence of Japan – the curiosities, the tradition and the uniqueness. The performers throw their all into each performance; they smile, they have fun, they engage with us and play with us but there are times of what would seem like ritual and tradition.

They show the mixture of something so old with the way they play, the instruments and their movements – being very low squatted and grounded. But also they enjoy what they are doing, bouncing from one area to another, dancing to accompany the music but also doing comedic moves that everyone relates to and so it then makes sense that this is at a dance theatre.

What I found intriguing is the mix of performers. Both men and women played the same instruments – there was little sexism in what they wore, what they were capable of and it felt like a very equal participation-something much of the British theatrical scene could learn from!

While its evident their English is very small, we engage with them in universal movements and find comedy in actions rather than words. We do not feel so far apart from their culture as we may anticipate.

Yamato is heaps of fun and extraordinary – as a drummer I found their skills astonishing but even a novice would do so. They are so perfected and fantastic, it would be hard to attend and not to come away smiling.

http://www.sadlerswells.com/whats-on/2017/yamato-chousensha-the-challengers/
 

Theatre

Review E15, Lung Theatre, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (4 / 5)

On such a tragic day, when London is in a state of terror, the production of E15 by Lung Theatre is more poignant than ever. A community joining together to stand strong and still invite others to London.

Based upon the social housing crisis, E15 brings a documentary style of theatre with true stories from true people and their struggle and fight for basic rights that all humans should be allowed.

As a previous private resident of Newham when I first moved to London over 2 years ago, I was aware of the poverty of this area but no idea of this movement. This production fully opening our eyes to the crisis. London is known as a welcoming city, with the recent Brexit vote forcing people to announce that London is still welcome. Yet it seems we can hardly cater for even local people, those who seek asylum – anyone who needs help.

The stage being plastered in protest flags, chalk writing on the floor, campaign voices over the microphone, we are put in the essence of this struggle. And all the rest is the perfection of the performers.

Their truthful, natural and passionate narrative is poignant and emotional. But strong. Strong voices. Strong men and women and their ability to tell this tale with added theatricality made something true and political stand out.

Some say that theatre should stay out of politics but with theatre like E15, the only helps the cause and puts it on the radar of the public.

A very important and creative production – a must see!

https://www.bac.org.uk/content/42647/whats_on/whats_on/shows/e15

Theatre

Review Tank, Breach Theatre, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (5 / 5)

A almost crazed episode in American history, a NASA funded project during the 1960’s involving trying to make dolphins speak English is controversial and a shocking era. Based upon training scripts, Breach Theatre aim to discover what really happened, indulging in the pure animal cruelty and madness of the scientists involved.

A theme of water is obvious and consistent – the performers continue to hydrate from a water cooler in the corner, almost filling themselves with the tale.

https://vimeo.com/181211245

By posing our dolphins in human form, we see the general cruelty, the unpicking  in a discussion by the performers of what would be happening, arguing and then agreeing on events, on emotions, feelings, what may happen, what may not- a worst case and probable truthful telling of behind the transcripts.

This soon  comes into physicality of the dolphins, still humanised to not only mirror what the scientist are cruelly trying to achieve but also to give us a connection and really how we would feel if this was done to a human.

The performers are relaxed, casual and act as if ad libbing despite us knowing this can  only be well rehearsed. They manage the right balance of comedy, of shock, of metaphor and lead us down a shocking and disturbing road.

Breach Theatre have managed to create a piece unlike any other and such uniqueness needs to be seen and celebrated.

https://www.bac.org.uk/content/42641/whats_on/whats_on/shows/tank