All posts by Hannah Goslin

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Theatre

Review One Last Thing (For Now), Althea Theatre, Old Red Lion Theatre By Hannah Goslin

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out of 5 stars (4 / 5)

Up above the mid afternoon Sunday lunchers, a performance that makes you giggle, makes you feel your emotions and come away feeling more culturally enlighten is performed.

One Last Thing  (for now) features quite a large cast for such a small performance space. The play looks at the lives of several different people, across time and across the world and the importance of communication to show love in times of war.

The storyline chops and changes from different eras and even to different places across the world with ease and with constant intrigue. One tale is not given all at once, we have to fight through the different tales of woe, hardship and pain to get to the end of each interesting piece.

The performers are always well engaged, always part of the story or set and draw our attention well to the action by showing interest themselves – it feels as if the performance is the first or second time they have done it, despite being a week into the run.

At times accents can be a little ropey, losing the narrative a little. But it is picked up well with their general performance. Their physicality and interesting use of bodies for staging and different characters are interesting and well constructed.

And while it did not make me cry, there were some in the audience that the stories really touched. Perhaps some of the energy was too impactful to give us time to process the stories before another came along.

Never the less, it is refreshing to see a production so full of life and so well invested in by the performers that you fail to come away without a smile and an after thought.

 

Theatre

Review, Castle Rock, Massive Owl, Battersea Arts Centre by Hannah Goslin

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Back at the Battersea Arts Centre, it seems with their jam packed season, they may as well provide a bed for me! A busy season is always fantastic with the different art that is created and performed here.

The company Massive Owl have travelled from Bristol for their one night show Castle Rock, based upon the Stephen King  novella The Body and the 1986 film Stand By Me.  We see the character of Ray and his enthusiasm for boxing but with the need to feel invincible.  This narrative evokes a technical and physical abstract show showcasing the stage in his life and events that pass.

However, I came away not being a huge fan.  The performance was at one, slow pace for the hour duration, feeling a lot longer, and not in a positive way. I kept waiting for something to happen, to get fast paced, to change the dynamics, a shock twist but nothing did. Arguably there was a small crescendo nearer the end but it felt displaced.

Technically – the use of projection, microphones and a loop peddle was interesting and added some interest to the stage presence. Not to rely on prerecording always shows a new talent to a production.

Majority of the production saw physical theatre, which I’m always a fan of. And you could see what they were trying to achieve but unfortunately it just did not hit the peak. While what was enjoyable was a little bit of comedy from the character of Ray from his dialogue which was witty without needing a huge monologue to get there. He had a twinkle in his eye that felt could have been harnessed more.

Castle Rock felt very much still in a scratch phase and with guidance needed to hone what the company wanted to achieve. However, any artist can see the hard work and direction they wanted to go and that in itself is something to commend.

out of 5 stars (2 / 5)

Theatre

Review In Other Words, Hope Theatre by Hannah Goslin

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out of 5 stars (4 / 5)

In the top of the Hope and Anchor, one of my favourite venues displays yet another interesting and ground breaking piece of new writing.

Matthew Seager, who also stars as our main man in this duologue of a production, debuts his writing in the form of a tale about a couple dealing with the slow deterioration due to age and dementia.

We run through, back and forth to the past, the present and an almost out of body experience of the couple looking back on their life, giving a narrative to their own torment. Coming into the production itself, the couple interact with us, become playful with each other, and when relating the narrative to us, we are brought in, trusted and engaged with. This in itself connects us and makes us feel as if we have known this pair our entire lives.

The slow deterioration is not referred to by name until near the end – dementia. Without prior knowledge, we can only guess what they are referring to and so it comes as a surprise to us, as it does to the characters despite our inner guesses and assumptions. With only two characters, the character of the Doctor is never seen and this draws us into the couple more, intruding on their thoughts and feelings.

Seagar is a loveable goon. We fall in love with him, just as his character wife does, and so to see him become something unlike himself it painful to us. Using his voice, his facial expressions and the change in his posture is natural and painful to watch but very like an older person conforming to dementia.

Celeste Dodwell is also a natural triumph. I had previously seen her only a week before in Testament by Old Sole Theatre. In the previous production, she also plays a character with an upsetting storyline. However, and it is not just because a change of accent from American to Australian (although her Australian accent in In Other Words is very subtle) but comparing the two approaches to the characters, she sure shows talent, showing such a difference between the two. She draws us in and we soon feel her pain, her thoughts and so the story soon becomes not about a man and his dementia, but how they both cope with the change.

With a basic staging, little props and beautiful old school Sinatra and changing in lighting to flag up a new scene, there is nothing fancy taking away interest from the writing but only adds to the theatricality of the play.

Looking around the audience, not a dry eye was in the house – men who in the queue to enter looked strong and alpha, are reduced to tears and myself… well… my sleeve was soaked with drying my eyes at the end. In Other Words takes on a new approach to the subject and is beautifully tragic.

http://www.thehopetheatre.com/productions/in-other-words/

Theatre

Review Show Me The Money, Paula Varjack, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (2 / 5)

A major and rising issue in the Arts industry is funding. Funding your art, your life, somehow becoming a fully fledged artist. It’s something we have all encountered –  myself hindering to this especially from coming back from a short stint of travelling to find myself on benefits with endless applications, interviews for jobs I am more than qualified for but not meeting the fine margin in the big City that is London.

While Paula Varjack predominantly focuses on those making theatre (a choice of a hiatus of theatre making made by myself due to trying to pay the bills) and other forms of art, rather than a broader range of the arts sector, she brings up points and an exploration that can be related to for all roles in the industry.

As a solo performer, she uses a range of mediums to express this. Some are through music, sound bites, interviews with other artists projected on the screen – we are back to the theatre genre I have recently discovered in previous Battersea Arts Centre shows such as Hairpeace and Live Before you Die, that is more a presentation that a show. Never the less, it is not any less of an interesting approach to performance art.

Much of the production was Varjack reiterating her well rehearsed scripting – however in comparisons to times of ad lib, it definitely felt scripted, rehearsed and lacked personality and warmth that we would expect from an issue so close to the heart.

While all the concepts are there, and she brings up lots of very good points that we relate to, the piece still felt in the scratch phase. It felt like something more ‘polished’ was lacking – while if we are realistic, theatre is known for never being perfect but always striving for more; more definitely being needed to make this piece ready for stage.

I found it personally hard to relate to at times. Not only did her background sound well supported which many artists do not have the luxury of (and I have no doubt this was unintentional an opinion) but also a stress was put onto the hours put into a show and a sense that this dragged. Again, while I feel the approach was meant to be positive, showing the hard working aspect of art, it felt more cynical, regretful and a sense of boredom in making the piece despite the modern dance music playing in the background.

With a lot of respect for Varjack and understanding and appreciation of what she is trying to achieve with Show Me The Money, it just felt a little lost at times and confusion in the point being made. However, she does bring a matter of fact expression to the topic at hand which is always welcome in contesting current art politics.

https://www.bac.org.uk/content/42639/to_archive/show_me_the_money

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Review The Testament, Old Sole Theatre, Vault Festival, The Vaults by Hannah Goslin

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out of 5 stars (4 / 5)

Down in the sub-terrain of The Vaults, we are transported for one hour to the Bible belt of America, to hear several peoples stories.

A very basic set – we enter to a small group singing harmonic Christian music on a small stage, titled by a large fluorescent cross above their heads. Our seating is set out just like a church – wooden, uncomfortable pews instantly implementing us into the whole church-like atmosphere.

Our performers range in backgrounds – a normal looking business man whom we can imagine with a white picket fence, wife and kids in the suburbs, a sister duo who are very close, housewives with working husbands and young children, a young man in an orange jumpsuit who is in prison for his crimes and finally our main songstress, a soulful lady who we also get the feeling of her presence being in a councillor/priest type role.

Each story is delivered by these people – starting out with a normal tale, which slowly becomes more serious, more emotional and more negative. Two of the three stories present tales of abuse, and the other of an accidental event. However they all have a common link – God.

This basic and very powerful production, set in a Church, sets out to contradict and challenge the Christian belief in the eyes of the abused, the hurt and the unjustified. Somehow they either come back to God despite these awful events, or are being made to repent when they pointedly ask the main question of – why should I when he has let this happen to me? They show just how the ideal of Christianity hides these issues and gives a false sense of security when one doesn’t know where to go.

The performers themselves are so invested in their stories that it’s hard to believe that such terrible stories are a work of fiction. While totally plausible and most probably similar to many true tales, the way they present them is so emotional, expressed  in their trembling voices, their tearful eyes, their stiff and shaking bodies. And of course, by cleverly presenting the stories from positive view before quickly deteriorating, we are thrown into constant shock at how detailed and truthful these tales are being presented. For performers to do this so easily, with perfect accents and to make us feel a roller coaster of emotions is a triumph.

Of course one cannot write a review and not mention the music. There is no organ, or pre-recorded music but pure acapella which helps with the atmosphere but also push the essence of escapism through religion. Once a story is told, the songstress addresses it vocally and we see the performers comforted. As if their story suddenly does not matter because they have God.

No frills, no fancy sets or lights, The Testament presents stories of turmoil in an honest and raw way, while challenging religion without the obvious finger pointing.

Written by Tristan Bernays
Presented by Old Sole Theatre Company
Directed by Lucy Jane Atkinson

http://www.vaultfestival.com/event/testament/2017-02-23/

Theatre

Review Bucket List, Theatre Ad Infinitum, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (4 / 5)

When we think of a Bucket List, it tends to be what we want to do before our final ending.

Full of ideas of endings, Bucket List at the Battersea Arts Centre takes on a fictional tale which is very much transferable to modern day.

Based in Mexico, we meet a little girl who goes through a traumatic short life. Basing it upon political issues between the USA and Mexico, we see many disastrous events from pollution of Mexico, to the corrupt ‘policia’ with suspicious deaths, rape and drug use. Milagros witnesses all these awful and terrible events and decides after finding out that she is dying, that those responsible must pay.

A small group of performers, all female, bring a strong cast to this stage. Ranging in ages, each of them present such interesting and energetic performances. The main cast double up on characters which are seamless and well- constructed – ranging from children to adults to different genders. To help with this, occasionally a prop or piece of costume is used but while this aesthetic is welcomed, it isn’t always necessary.

My only issue with this was with accents – throughout the production it was evident that the English native speakers were able to adopt a Mexican accent, but for whatever reason chose not to for some main characters and when changing to another accent, managed this with no issue. It was slightly confusing when this became a revelation as it felt slightly inconsistent.

What struck me however was the level and grace of the physical theatre involved. Much of the production used this technique to change places, to represent different events and feelings and it was fantastic. The performers had so much energy, were able to move seamlessly and almost seemingly with little effort and this as a performance itself was as intriguing as the narrative.

Live music and singing was also a great addition – a simple drum set and percussionist providing some of the background and a guitarist and phenomenal singer at times providing a singing narrative, becoming the corrupt characters in her androgynous style, made this production a little bit more special than it already was.

Bucket List is raw, exhilarating, intelligent and fantastic. And with the current political situation in America and Mexica, very poignant and modern.

https://www.bac.org.uk/content/42644/whats_on/whats_on/shows/bucket_list
https://youtu.be/CxlFNcpcYv8

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Review The Understudy, Canal Cafe Theatre by Hannah Goslin

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Images courtesy of Simon Annand

out of 5 stars (4 / 5)

Known as the American Season at the Canal Café Theatre, The Understudy written by Theresa Rebeck has been brought to the UK stage at the top of this busy pub theatre in Little Venice.

Taking a comical look at contemporary theatre, the story of The Understudy, while based in America and on the Broadway circuit, presents a story that is relatable to all performing arts professionals in the industry, within every country.

The story features three characters – a Hollywood film star, brought into this theatre production to up ratings, The Understudy to him who is a typical struggling actor trying to find his big break and our stage manager, a former performer who fell into the role when money got hard. Set in the round, we see the play unfold on the ‘stage’ of this theatre, an imaginary weed smoking enthusiastic lighting and sound technician who is only referred to and spoken to with no answer and a backstage area we never see, only for performers to exit through a curtain.

The performers are hilarious – bouncing off one another, they do well to build relationships in front of our eyes. Some interactions are to do with the production; some personal; some 6 years ago. This triangle of talent does well to be as dramatic as us performers can be, and to illustrate the irritation of the industry – the performances that make way of talent for the ‘star’ to bring in the cash. The dreams that are sometimes given up because you have to eat and pay bills. The performer who cannot stand Hollywood (mostly through bitterness of failed auditions) and wants to stay true to the essence of theatre. But somehow, they all are very similar.

The relationship between this three that we see unfold in front of our eyes is constantly intriguing. The performers evidently enjoying their performance and the themes which only helps bring understanding to the production and the humour. They are able to ‘ham up’ their performance to be satirical of the industry but without melodrama and without taking away some of the naturalism of the piece.

The Understudy is honest, comical and a brilliant play. A play within a play can sometimes be slightly dreary but with this production, it is seamless and abundant in irony.

Theatre

Review Fire in the Machine, Sounds Like Chaos, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (3 / 5)

Fire in the Machine is a production from the company Sounds Like Chaos, which features original work with performers aged 16-21 in South East London.

A loud and bright show, Fire in the Machine is a show featuring upbeat music, scheduled but unusual acts, in a form of a different and new Cabaret show than what we are used to. Some is spoken word, some is song, and some is pure chaos.

At this age range, I remember doing my GCSE and A Level drama productions, some of which didn’t look nearly as professional as this production – the usual make what you can, basic lighting and sound systems and A LOT of doubling your time to not only be a performer, but a director, a sound and light technician and prop/set maker. However with the use of BAC, the initiative is given a great space and access to the professional theatre additions which really helps in the confidence in these clearly passionate young people.

Just like my school days, there is evidently some who you can see potential and others who haven’t quite got that far – but this does not take away from the humour, the confidence and the commitment shown in what they have created. At times, just like their name, is organised chaos, providing laughter and a sense of uncertainty, others are thoughtful and bring to home the difficulty our future has, not just to us older persons, but also the struggle young people are facing – perhaps a lot due to our impact .

Fire in the Machine is well worth a watch – there is something wholesome and positive from experiencing this show, seeing the passion, the energy and interest that these young people have in the arts world – making me think that performance art/fringe theatre/original creations/whatever you wish to define it as, will proceed to go up and up.

https://www.bac.org.uk/content/42635/whats_on/whats_on/shows/fire_in_the_machine

 

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Review DenMARKED, Conrad Murray, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (4 / 5)

Raw. Interesting. Emotional. With a dash of music in the form of looping, beat box. All from one man.

DenMARKED is what can only be described as brilliance. Taken biographically, this one man show from Conrad Murray hits the emotional pedal, pulls the heart strings, but also gives you the giggles. From times of being beaten by his father, his life of constantly being put down and fear of going no where but to rock bottom, however coming out the other side with the help of Shakespeare, music and the arts, we feel as if we are on a roller coaster with him; being able to tell his story is a triumph in itself but to express and tell the tale with such confidence, such theatricality and reflectiveness brings all the different elements to this hour or so long monologue, keeping us interested and the growing sense of friendship with Murray.

Basic use of lighting, pre-recorded narrative titles are used well, not taking away anything from this man, his story, his guitar and loop machine. The music itself is incredible – if this guy was not talented enough with how he has created theatre and ‘performed’ it in such a fantastic way, he continues to shine through the great ‘beats’ he makes on the spot – a CD I would love to own.

DenMARKED parallels parts of Murray’s life with the story of Hamlet, using key quotes to add that little something extra to his message.

With all these elements, this is a clever production and one of a kind – some can do spoken word; some can beat box and use this as a story telling technique; and of course some act. Conrad Murray does all of these, and more, bringing a polished, honest and brave production to the Battersea stage.

https://www.bac.org.uk/content/42636/whats_on/whats_on/shows/denmarked

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Review Live Before you Die, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (4 / 5)

Since coming to the same venue to see Hairspeace last year, I have noticed that there is little (or in my opinion not enough) of performance arts with honesty, in a sort of presentation style.

Walking into Live Before you Die, I was not expecting it to have this theme. But it’s a theme I’m beginning to love.

Live Before you Die is a performance art come presentation of Byron Vincent and Dave McGinn’s journey to fix Byron. With a long standing illness of Bi Polar disorder, this truthful, at times shocking, at others hilarious and brave performance looks into Byron’s disorder, Dave’s friendship and attempts to help and all the crazy, interesting and scary events through this journey.

From meeting American self help professionals, to a stint in Vegas, and a missed show at the Edinburgh fringe, this pair tell their story while bouncing off one another. There’s no fancy tricks, no crazy light and sound moments intervening, no progressive dance; simply two men, in a sort of ‘Pointless’ set up (I’ve got to admit, it was a younger and more interesting similarity to the game show) and video clips of the tale.

This may sound boring – who sees a show that is so minimalist? But do not be fooled – coming from such honesty is definite intrigue and to add all these atmospheric theatrical additions would only ruin what they are achieving. To try and explain such a diverse and complicated illness is hard enough, but to be open and bring your highs, lows and confessions to 40 or so complete strangers takes guts and counteracts the stigma around mental health in a way that I have never seen before or doubt anyone has tried to do.

We are made to feel like friends; we laugh and joke with them, and this relaxed performance isn’t just what we need but we also sense that for Byron and Dave, this is something they need too.

Finishing with a hug from Byron at the end, there’s no certainty of what is next for this pair, but we can be sure their friendship, talent for performance art and more antics are definitely going to continue in abundance. And we hope, positive progression for Byron.

https://www.bac.org.uk/content/42637/whats_on/whats_on/shows/live_before_you_die