All posts by Hannah Goslin

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Review, Flossy and Boo’s Curious Cabaret, Chapter Arts Centre, by Hannah Goslin

goslin

 out of 5 stars (4 / 5)

Bright pink and green wigs, ukuleles and a whole heap of fun. Coming to Chapter Arts Centre to see these two curious sisters in creativey was excitingly anticipated by me. I have heard so many wonderful things but never had the chance to grab a chance to see them.

Flossy and Boo as would seem by any images you see of them are eccentric, comedic and warm and friendly. Being welcomed one by one by each of them to the performance, it felt more of a personal gathering than of watching a performance piece.

Flossy and Boo had planned items but also random segments chosen by the audience in the form of picking items from a hat. This was full of anticipation to see the reaction of the performers and what material they brought into the mix.  To be able to chop and change and bring a new show each time is a triumph and very clear of some talented theatre practitioners.

Their ability to change the scenario at last minute, combat sound issues and prop interruption was done seamlessly, with us enjoying how ‘natural’ they were with us. We were never quite sure if they were being their characters or their usual persona- which of course is brilliant to be able to achieve.

Flossy and Boo’s Curious Cabaret is side splittingly hilarious, extremely intelligent and masterful in its execution. Heading to Edinburgh, I urge you to see them. They’re ones not to miss!

Review, The Hunting of the Snark, Sherman Theatre by Hannah Goslin

snark

 out of 5 stars (4 / 5)

In the open and bright Sherman Theatre, there is an abundance of joy and exciting pre, during and post show by all the children and families who are looking out for and forward to The Hunting of the Snark.

Based upon the tale by Lewis Carroll, the story sees a collective of people who join over one common thing- to find a Snark. No one knows (including us) what a Snark looks like and there is always suspense and intrigue into what it may be.

The tale is comical, modern and breaks the fourth wall with audience interaction. The set it beautiful and interchangeable with simple props and lights and little other sound in use in addition to a one man band on stage named Steve who is referred to as part of the narrative.

We have heroes, villains and morals of the story. We see the development of a father and son relationship and a hint at animal welfare with whether we should capture creatures from their natural habitat. All food for thought and teaching valid topics to the children in the audience- and us too as adults!

References to modern culture and literary fame brings a real intelligence and great nod towards the greats and no so greats of these. Thsee imputs hit home with every age group and includes everyone, young and old.

The Hunting of the Snark is a beautiful and hilarious family entertainer. And even if you do not have kids, go anyway- you’ll come out wanting to find your own Snark too!

 

Review, Much Ado About Nothing, The Lord Chamberlain’s Men, Cardiff Castle By Hannah Goslin

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 out of 5 stars (4 / 5)

Summer is here and despite a lapse in sunshine, there’s nothing like watching history in such a cultural setting. In the middle of Cardiff Castle, surrounded by its brick walls, we were encouraged to sit on the gardens and in our own chairs, enjoying picnics and little tipples while British Theatre unfolds.

It’s surely a testament to Shakespeare and his wonderful writing that we are still taking his plays and producing our own adaptations.  It is of course also down to the performers to bring it alive.

Often companies to revive the well known plays to a modern audience will base it in a familiar setting for them to relate to and get other generations involved. And there’s no quabble that there are beautiful renditions in this manner. However, sometimes it’s just what you need to see his plays produced in the original way they were.

There was an essence of The Globe about the setting (despite us sitting down).  While the heavens wanted to open no one moved, rooted to the ground.  The company did what is very rare to see these days and had an all male cast – back to the roots, men were the ladies and doubling up was continuous. Such brilliant actors, this only added to the comedy and the men playing women did the right amount of ‘hamming up’ for comedy and reflect the writing without ruining the character or the illusion. Transitioning to other male characters, they easily transformed their voices and persona to counteract previous characters, showing the brilliance of these performers.

Benedict was especially funny. A evidently talented and comical actor, he executed his actions and the text with the right intention and was by far the most hilarious on stage – one time flinging himself across the stage and surprising other actors into corpsing. Some see this as a bad aspect but audiences enjoy seeing the performer’s finding things humorous and showing their enjoyment of what they are doing.

The Lord Chamberlain’s men will be continuing to tour this wonderful production. Spice up your Summer with some old fashioned fun. If you’re unable to experience The Globe, this production is a close second.

Review, The Hound of the Baskervilles, Chapterhouse Theatre Company, By Hannah Goslin

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 out of 5 stars (3 / 5)

In the heart of Dartmoor, tales of murder, mystery and mythical creatures has haunted the moors for decades. Thanks for Sir Arthur Conan Doyle, my family home is full of these attributes and fame, however it has been little explored on site in the form of theatre.

With the moors in the distance and the back drop of the Moorland House Hotel, Yelverton, I took my Sherlock fanatic parents to witness this infamous fictional tale.

Open air theatre I find is always quite a difficult type of theatre.  You have very little prop and staging to use as touring with this is very difficult as well as little access to the lighting, sounds and special effects we experience in indoor performances.  Chapterhouse- well known for their many outdoor travelling theatre productions luckily has this under control and still lead us to enjoy the changing scenery and premises with the use of song and professionally conducted actors.

Sherlock Holmes as a character I find is very difficult and quite an achievement to be able to play. I am never entirely sure who he is meant to be. Adaptations from the older days show him to be very serious and controlling while recent performances make him a little more eccentric than usual and almost comical.  Chapterhouse played upon both of these, at times Holmes being almost a buffoon in his performance to other times a leader and quite demanding. Whether this is Sherlock or not is entirely up to interpretation- myself is still on the fence of who I think he should be.

To support this take on the story to stage , the use of a man dressed in a pantomime dog’s costume and play upon the writing was used for comedy and the audience really seemed to enjoy this. Whether this is appropriate for such a genre of writing I am unsure but without access to means that in house theatres could produce, maybe this comical view is a good way to address that.

Overall I did enjoy this production. It certainly felt that while we were viewing a story on a cold Moor (while in reality is the sunny Summer)that we were involved in the story, and with the real Moor nearby, who knows what could be lurking on our exit!

Review Unreachable, The Royal Court, By Hannah Goslin

Unreachable

The Royal Court

 out of 5 stars (5 / 5)

With a big name at the forefront of the cast bill, a huge Doctor Who fan such as myself was irritatingly excited by the prospect of seeing such a formidable actor as Matt Smith in the flesh. To expand on my use of ‘irritatingly’ – as one who believes that you should credit a show on the talent and not on the fame of the actors, I could not help but be intrigued by comparing the number 11 Doctor to the new character on stage.

A very simplistic stage representing the back stage of a film set, this minimalist approach to set was well orchestrated in mirroring the comical and at times satirical narrative, picking upon often lavish and over the top Hollywood approaches to hit films.

Unreachable follows the storyline of a creative yet challenged director and his search for the perfect light for a wonderful film; this is of course against those with less genius who want to film a film and be done with it, ranging from an actress who suffers from a lack of empathy, a mother like figure yet strong independent female producer, a bumbling yet lovable camera man, a eccentric and crazed actor and finally a corporative supervisor. All have the common feeling of a film being like any other and the need and want for completion, there are at times similarity in the Director and his creative search and our eccentric actor who believes everything is ‘filth’ and uncreative. This hilarious character is nothing but a pleasant addition to the cast, bringing in a loud, obnoxious and thoroughly side splitting array of metaphors along with pure energy constantly throughout the piece.

Of course, we cannot go through without a comment on Matt Smith. Those who have only seen him in Doctor Who may find themselves a little disappointed by the lack of difference between his character in Unreachable and the TV show. However, such similar characters are hard to differentiate. Both vulnerable, a little odd and in need of some company but not admitting to this. Smith bounces around, is kind and sweet but also childlike. Difference being that he has little authority in this production compared to the Doctor; he needs people around him, he needs the companionship and is lost, when the Doctor needs this without realising, pushing those around him away.  When you compare these, they are different and he does amazingly well to make this subtle difference. Once seeing him in an array of other roles, you do know he is not a one trick pony, but just a sufferer of casting a similar part.

During Unreachable, there were moments of corpse-ing and times of possible breaking away from the story and direction. This did nothing but make this comedy even more funny, and showed a great relationship between characters, actors and that they were enjoying the production. Nothing is worse than a performer obviously going through the motions – such fun an interesting writing, such wonderful and comical direction, it was a joy and wonderful to see the actors finding the play just as funny as we did.

We felt a part of something special. We did not want to leave. We only wanted to be a part of their world forever.

Review Threepenny Opera, National Theatre, By Hannah Goslin

 out of 5 stars (5 / 5)

It is very rare to come away from a performance and struggle for words. Whether they be good, bad, indifferent. In the case of Threepenny Opera, the sheer perfection of this production left me gobsmacked and lost for words at this phenomenal production.

From the fantastic theatre practitioner Brecht, the performance hits every note of his theories on the performance not letting us as an audience relate but self-reflect and critically review the political scenario of the performance. In the current climate when the UK has left the EU and there are turbulent times, a performance where the hero is an anti-hero, and the good guys are just as corrupt as the bad guys, it’s hard to not find a similarity to what is happening in the World currently.

Threepenny is humorous, it is dark and it is clever and brilliant. Each performer has delved into their character, changing their appearance, stance, movement to relate to them. While we have our ‘main’ character, each performer stands out in their own right, some even doubling up roles but this is hard to notice with how well they change themselves. Not to mention the satire of Opera as a theme itself – an industry well known for being stereotypically middle class, this Opera is from the poor and the down and out; it’s for us normal people. Not to mention each performer’s wonderful voice showcasing that it isn’t just the middle class with talent.

https://youtu.be/v800yLRgKLg

ThreePenny is darkly comical, with a staging that is reminiscent of unusual world’s created by Tim Burton; the odd but strangely  enticing world created in Golem by 1927 which showcased in Trafalgar Studios last year, yet is still entirely new and beautifully constructed.

Threepenny is nothing short of perfection. And a production that you must tick off your bucket list.

https://www.nationaltheatre.org.uk/shows/threepenny-opera

Review Cut, The Vaults by Hannah Goslin

 out of 5 stars (2 / 5)

Deep under Waterloo station is this mysterious and unknown theatrical hub. It is unclear where we go and this brings such brilliant surprise when we enter an entirely white and plastic tunnel. We are greeted as if we are boarding an aircraft – a journey of emotional turmoil.

Throughout the 1 hour running time, we are plunged into darkness, brought back into the light to either be greeted by a frightened and worried female or our humble flight attendant. The storyline sees the woman and her fear as she is stalked by a stranger.

The switching from dark to light, the use of a small handheld torch gives us a sense of vulnerability and fear, as if we relate to the woman and her peril. At times this does become a bit much and the fear factor soon loses its’ affect. While we are still engaged in the performer and her ability to appear in different parts of the room and switch her appearance and her personality in a matter of minutes.

While the performer Hannah Norris is wonderful and clearly very skilled, the novelty of the changing and the dark to light soon wears off with nothing to continue keeping us surprised. It felt that more should be given to us, and shock factors initiated to keep us relating to the character’s emotions.

Never the less,  I would still encourage others to come and watch this production. The overall intention, clever staging and performance ,  just feels that there could be so much more.

 

Review, Airswimming, Weird Sisters Theatre Company, The Bread and Rose Theatre, By Hannah Goslin

 out of 5 stars (2 / 5)

A taboo subject, even in the modern day – we are still unsure about how to approach the subject of mental health. While it is understood more today, to be a woman and with such a medical condition back in the 1920’s was something that was frowned upon.

Telling the story of two women, Weird Sisters Theatre Company give us the stories, the relationships and 50 years in an insane asylum. We meet Persephone who as a young 21 year old is brought to the asylum for her relationship and bearing of a child with a married man and is thrown together with Dora, a gender confused woman obsessed with the military.

Two different characters, each scene shows the back and forth from the future to the present day. The performers do well to switch the characters and their growth from originally making no connection, to becoming the best of friends. Simple light changes from a blue for the beginning of their relationship to a red for the future, we get a sense with the acting of their progression of friendship.

The writing is clever in its use of phrasing for the insane, opinions expressed by others and themselves with drawing upon ‘witches’ and sorcery; Dora’s obsession with the military and stories of historical strong women gives us a sense of pride in feminism but also anger that these views have led her to incarceration due to the threat of the patriarchy of the time.

As years pass, there are hints of the 1950’s, Doris Day and other elements through time, while the characters stay in their plain, Victorian-like clothing. We are lost in the sense of time with confusion of where we are and what is happening – a good way to mirror to the audience how the character’s must feel with the mundanity and repetition of institution life.

Without revealing any spoilers, the performances and writing pull at your heart strings and make you feel for the characters. Simplistic set, lighting and gentle sound does well to highlight the performance but not take away from it.

Airswimming is clever in its look at mental health, bringing it  to the forefront not just for women, but everyone and also highlights the importance of friendship.

Review Minefield, The Royal Court, Lift Festival, By Hannah Goslin

 out of 5 stars (5 / 5)

Up in the circle, viewing down onto the stage, a masterpiece is about to unfold.

What looks to be a simple set up – a big double screen, as if a cube had been cut in half, a drum kit, some guitars, a desk, costume rack and a camera. A simple yet welcoming stage to the mountain of feeling, expression, truth, fear, sadness and joy that is to fill this theatre.

Minefield, as part of the ‘On the Move’ series for Lift festival (an international theatre festival) takes veteran’s from the Falklands war, from both Britain and Argentina and brings their experiences of the war and compares one to the other. Bringing two enemies against each other on stage sounded like a dangerous and taboo thing to do – these veterans came as enemies and left as friends.

For ordinary men who are simply telling their story, their musical hobbies are used to bring an interesting element to the show. When you see a documentary on TV, there is some background music to parts and this was like a live documentary in front of our eyes- the talented veterans providing the ‘scene change’ music and showing who they are now is clever and shows more to them as people than just soldiers, marines and naval officers.

Multimedia was used throughout bringing new dimensions to the production. We had translations in both English and Spanish depending on who was speaking – despite one or two of the Argentinians being able to speak English, the majority of the performance was kept in mother tongues which gave a sense of nature and respect of cultures to the piece. A camera zoomed into performer’s faces, souvenirs and tangible memories for us to see more of; background video and animation was thrown up on the big screens – we were instantly brought into their lives and privy to their secrets.

The men were treated as performers-they provided their own soundscape using voice, breath and bringing objects together; they played different characters , interacted and trusted one another in their performance, put their truth on the line and respected one another for this. These men provided some of the best performance skills and techniques I have ever seen, and they were not trained or necessarily theatre fanatics as most performers in the industry are meant to be.

Perhaps the truthful and hard hitting stories, coming from the people themselves brings out the real performer and the real enthusiasm to portray not only their own but each other’s lives. It was evident that great friendship had been made and this made for the performance to run smoothly, cleverly and to make you think.

Ending with a full band featuring all the ‘cast’ singing and playing a rock song with lyrics relating to what soldiers do, the bad, nasty and the ugly. Rhetorically we are asked ‘Would you go to War? Would you?’ leaving us questioning ourselves to whether we would after hearing the reality that was not shown in the press.

I know what I would reply after being asked this. But what I ask you is, why wouldn’t you go to this production? As rhetorical as they ask their question, there is no answer needed and no doubt that you should.

Minefield
Royal Court Theatre
Lift Festival
10/06/16

Review Human Animals, The Royal Court, By Hannah Goslin

 out of 5 stars (4 / 5)

Back to the Jerwood space – transformational, the scene is a complete change to what I have seen previously here.

Looking down on a modern, clean, almost Ikea like garden space, there are large windows, a barbecue spreading delicious smells and 6 actors going their ‘daily’ business.

Human Animals looks at the progression of an apocalyptic world and how easily the environment changes and how people can change when fearful and under threat. There is relation to the media and how it is portrayed, and in conversation, people’s discussion and opinion on this, with two sides of British reactions – either everything will be wonderful and will be fixed, or everything is entirely doomed.

These 6 actors give a wonderful performance, each with a character of substance and likelihood of change. We firstly are eased into the character’s, who they are, what they do, their personalities, our relation to these aspects. Once hysteria hits, it’s hard to not continue relating to them, questioning if this would be how you would react if it seemed that the world was slowly ending.

The layout of the production and the slow progression from normality to chaos and back to some resemblance to normality reminded me of watching animals in a zoo – things happen and instincts take over but there’s nothing you can do to help and no escape – all you can do is keep watching it unfold. The only difference here being that there is no screen in front of us, the screen is behind them. Occasionally liquid in various uncomfortable colours is sprayed down it and a person in a hazmat suit comes along to perform fumigation on the otherside. We are put in this comfortable bubble, but with the disintegration of the characters’ lives, minds, health and relationships, are we really that safe?

There is no attempt to hide any of these blatant facts that this production puts into your mind – there is gore and there is shock factors that leaves you thinking, considering life as it is now and the likelihood of this being a prediction of the future. And this is good – there’s no point hiding it and you are forced to sit up, listen and relate.

Human Animals is not only astonishing, but honest. No American zombie killing heroes to the rescue here; natural environments under threat, real possible events that could unfold in reality, truthful reactions and consequences. The performance aims to make you think, see and listen.