All posts by Hannah Goslin

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Review Hairpeace Battersea Arts Centre By Hannah Goslin

June 19, 2016 Hannah Goslin Leave a comment

(3 / 5)

Beginning this one woman show, Victoria Melody begins with an introduction to who she is, her previous show ‘Major Tom’ and where this brought her to the current production. She is a little bit odd, very talkative and full of expression. But it does put me on the edge of what was I really about to see.

This big haired, ditsy blonde seems amateur, strange and unlike anything I have ever seen. But soon, I was going to be surprised and about to eat my words.

Hairpeace begins from the performer’s quest to research a new show by entering beauty pageants. The cosmetic, pristine and long haired beauties we see on stage are all from this niche genre do a lot to make them this certain way. One part of this is the use of hair extensions, which are from real human hair. But where do they come from and does anyone even care? Melody investigates this, going from science, to Russia and to India where these extensions of beauty originate, and the deep dark and emotional secrets unfold.

As previous stated, I believed I was going to witness something amateur and something I was going to walk away from really disliking. I didn’t expect to be engaged, to laugh and to feel sorrow. Melody is so clever – her ‘amateur’ approach, her play on her airhead beauty pageant status is interesting and leaves us laughing. She is not only her intelligent and interesting self, but she plays on her stereotypes and easily wins around those (like myself) whose initial judgement was so, so wrong.

She uses her props, her staging well and plays with it all to bring out a laugh in us – one moment when a solid 3 minutes of her awful disco dancing with a frozen smile and her eyes lighting up in enjoyment is solely there to entertain – she is admirable for not caring what people think and doing things for us to love.

These hilarious and warming moments are comic relief however – the truth behind where hair comes from, her experiences and stories of people she goes to meet in Russia and India are heartbreaking but you are given real people through her filming, real emotion and she’s not afraid to show the real her whether it be taking the mick out of herself or telling the true revelations from her research.

Hairpeace turns into more performance art that a production; the content is real life, it is truth and honesty in all realms. However, instead of forcing us into a documentary, or storytelling, she highlights issues bluntly, bringing in elements of comedy to give that silver cloud. A definite informative and funny must see.

Never was the phrase ‘Never judge a book by it’s cover’ ever as apt as it is for this production; from my initial reactions to the reality of hair extensions.

Writer/ Performer: Victoria Melody
Director: Paul Hodson; Petra Massey
Dramaturg: Rachel Chavkin
Producer: Sean Phillips
Design: Ryan Laight; Joe Murray, Mitch Mitchinson, Evgeniy Kurbatov (Cameras); Richard Davenport, Hugo Glendinning (Photography)
Until 25 June 2016
https://www.bac.org.uk/content/41810/whats_on/whats_on/shows/hair_peace

Theatre

Review Can I Start Again Please? Battersea Arts Centre by Hannah Goslin

June 11, 2016 Hannah Goslin Leave a comment

Photo credits, Matthew Andrews

(3 / 5)

Language is the common denominator of all cultures. It’s how we communicate. How we progress. It’s a vital part of being safe and how we control our lives.

Can I Start Again Please ? Is a beautiful and simple piece of theatre with an abundance of subtext. It looks at language and how it is used and it’s restrictions. It also looks at elements of childhood trauma and abuse and how language is stunted by these events.

Two performers sat in huge dresses (Sue MacLaine and Nadia Nadarajah) our focus only on their face and their hands with a simple set of a few books by each of them, 3 bells and a large never ending sheet of paper across their laps.

At times the minimalism of such a small set and performance in such a large area creates a lack of intimacy. We are at times meant to feel as if we are being addressed but in a large area, it gives confusion as to whether we really are or whether this is directed to the other performer. Or was this the intention?

The performers show only two of the many ways we communicate – British Sign Language and vocally. The beauty of sign language is something I’ve never before taken the time to appreciate – the fluidity of the movement and the nature of gestures reminded me of a dance – a movement of language. If taken into a different context, there are many similarities in this language to what is achieved by physical theatre. The story or the expression is given through movement and at time abstract gestures rather than a simplistic mime; conveying emotion and meaning to anyone and everyone.

Touching upon childhood trauma – the combination of both these ideas into one production is very clever. The performers have taken from personal history which gives a personable and relatable performance. How we are given freedom of speech yet we can be threatened not to speak, be scared to or even lose the ability to through traumatic events, showing the growing limitations language has culturally.

Video credits, Zoe Manders

This minimalistic but contextually full performance is 60 minutes of intensity; highlighting the pain and structure of language especially in difficult situations as well as how culturally it has changed.

I left with much food for thought and a new appreciation of language.

http://www.suemaclaine.com/can-i-start-again-please/

Dance

Review The Merchants of Bollywood, Peacock Theatre by Hannah Goslin

June 4, 2016 Hannah Goslin Leave a comment

(3 / 5)

Back again to the Peacock Theatre, one of the wonderful houses of dance in London. From my first experience in ‘the hood’ where urban myths unfold on stage, to a cultural, vibrant and full of life story of Bollywood vs Traditional Indian dance.

The story follows the relationship between a granddaughter and her grandfather and the distance caused between them with his want to keep tradition alive and her eagerness for fame and the Bollywood scene.

We encounter flashbacks vs the current storyline, emphasised by the narration of the progress of the story. With this and the occasional comical and melodramatic scene, we are given the sense of Bollywood humour; an almost Shakespearian technique of throwing in comic relief amongst serious storylines. There is also a slight hint of satire, not just at Bollywood, but of all films across different cultures – pointing out the basics of storylines and how underneath the differences that producers give to a film, they are fundamentally the same.

Majority of the storylines they pick on are girl meets boy romances; the obstacles they face but the ultimate reunion of the characters, conquering all with love. This is mirrored cleverly itself with the storyline of the production – the main character reuniting with her childhood sweetheart after being whisked away by fame and fortune. A cross-culture concept of tradition vs modernisation and the affect it makes on heritage is also picked upon by highlighting through dance and costume the current trend and the more traditional.

The Merchants of Bollywood is full of life and colour – the energy brought to the stage through dance is palpable; the music is catchy and enjoyable; the characters are well formed in their blocks of serious characters and the comical relief. Some of the more serious moments become a little hammed up and caused laughter rather than an emotional expression. I continued to think of this, comparing it to the rest of the production – from my little knowledge of Bollywood, it does have a sense of melodrama and the Soap Opera tint on its stories and characters. By adding these moments to that ideal and taking account of the audience members who this made a positive impact on gauging from reactions, it would seem that playing off the over dramatic Bollywood genre is well constructed by imputing this through these moments; another satirical but celebratory nod to the film genre.

Overall I love The Merchants of Bollywood. As westerners, we have this concept of India as a beautiful, colourful place, steeped in history and tradition, but also in some aspects moving with the times. The story and construction of the production emphasises all of this; coming away without having a good time is pretty impossible.

http://merchantsofbollywood.com.au/the-music/
http://www.sadlerswells.com/whats-on/2016/the-merchants-of-bollywood/

Theatre

Review Sea Life The Hope Theatre, by Hannah Goslin

June 3, 2016 Hannah Goslin Leave a comment

(5 / 5)

London is well known for its Theatre Pubs. A wonderful concept, in the heart of boroughs of the city, there are little spaces where stories unfold, and below in the bar, people meet from all walks of life.

Invited to The Hope Theatre, this small and punky pub collates theatre goers and the locals in one amazing area. Heading upstairs, there is an instant change. A hustle and bustle of conversations drift away and the sound of sea gulls and shanties fill the small room. A strong smell of fish and chips fills the room as we sit like sardines next to one another in a dilapidated seaside bar. A green and blue tint on the stage, the whole room is painted and kitted out to involve you in the scene that begins to unfold.

The story sees 3 dysfunctional siblings after a tragic past and an even more tragic present. The play aims to look a life and death and does this with no fear of the audience sensitivity – just how theatre should be. The cliff is slowly breaking away with natural erosion, and the small towns past in the form of its grave yard is in danger of falling into the waters below and being lost forever. Enlisted to help, the brothers of this trio make the coffins and the other digs up the bodies – all three constructing silly and unordinary funerals in their never used bar.

The writing of this play is fantastic – it is full of emotion but also just as full with comedy. When you are told that this is a play about life and death, perhaps your mind immediately thinks it will be a negative emotional roller-coaster; not for the faint hearted. And it is, and it isn’t. We feel for the characters in their time of need, their frustration but also laugh at their oddball characters, their weird and unusual relationships and their even more bizarre situation.

To have such a mountain of content playing in such a small area is fantastic. The actors pin point their different characters so well. There’s a hint of a League of Gentleman to the production where it is funny but also so strange that you feel a little anxious as to whether something terrifying made suddenly be thrown in. And without giving anything away, it does just that. Finding yourself laughing but also being slightly shocked is a funny feeling but a wonderful one and replicating that with over 30 people is a triumph.

Sea Life must be one of my favourite shows so far in 2016. It appeals to everyone and is extremely British in its comical storyline and production. As a critic, perhaps you should find minor faults, but I cannot say there is a fault with this play. It has everything you need and that just a bit more.

http://www.thehopetheatre.com/productions/sea-life/

Theatre

Review Smash It Up, Mr and Mrs Clark, Battersea Arts Centre by Hannah Goslin

May 22, 2016 Hannah Goslin Leave a comment

Smash It Up!

Mr and Mrs Clark

Battersea Arts Centre

(5 / 5)

Two years ago I was lucky enough to be part of the Wales Dance Platform. It was an amazing weekend of performance, film and photography from a range of Welsh professionals.

In Chapter Arts Centre, I witnessed Mr and Mrs Clark and their new performance – ‘Smash It Up.’ I came away mesmerised, proud and inspired. A piece that, as always, seemed polished, well-constructed and well created, was only a work in progress to my surprise.

If you haven’t heard of the Clarks, then where have you been? To come from a working process to where this performance is two years later, seems almost impossible in how much more amazing it can be, when you already think this it’s pretty incredible to begin with. The company embark on a look into the destruction of art in our World and the substandard it is made out to be in relation to more ‘serious’ businesses and topics.

A low hum, we are introduced to a room of tables with destroyed items and highlights of art from music to images to paintings. Noticing under this hum is the sound of sheep – a link to the Welsh nationality being brought into the hub of London? It seems not – the gentle and patient movement of the tables and other furniture soon moves the audience members – purposeful, we are sheep being herded without argument.

The development proceeds from a sense of calm to gradual anger and destruction of not only art but of our freedom as creatives. The performers subject themselves to potential harm and injuries for their cause – a protest on stage.

Mr and Mrs Clark are known for their use of technology, their physicality and their in depth messages. All of this is in abundance and it is put together so amazingly well that the pieces of the puzzle slot together in such a concise but destructive way. Their energy is consistent and impressive, making you feel envious of how they are able to keep physical for so long – true professional and skilled performers.

If there is only one thing you do this year, it should be to see any show by this formidable company. Their open and in your face opinion and protest to the state of art leaves you not only thinking but also rooting for them if you weren’t already involved In the conversation. Flying the flag for Wales – The Clarks have easily conquered London.

Mr and Mrs Clark

Battersea Arts Centre

http://www.mrandmrsclark.co.uk/index.htm

Circus, Theatre

Review Big Bottom Bonanza, London Burlesque Festival, by Hannah Goslin

May 22, 2016 Hannah Goslin Leave a comment

London Burlesque Festival

Big Bottom Bonanza

(3 / 5)

It’s that time of year again. In the heart of Camden ladies and gentleman travel near and far as performers and audiences to see this famous name – a festival collating cabaret and burlesque performers from all across the world.

For the first time ever, the festival brings a night of big bottoms but not for the first time, talent, beauty, charisma, gorgeous costumes and dazzling routines. Known for its body appreciation and acceptance and celebration of men and women alike, this themed night doesn’t seem like something new. Burlesque crowds accept the art and not the looks and celebrate all forms of people. But this night collates these curvaceous beauties and their amazing confidence.

From the patriotic British routine, where we are made to salute our queen and country in the name of wiggling bottoms to a flown in New Yorker bringing us a cheeky classical routine, as always the festival brings a range of routines that make us laugh and leave us in awe. We’re transported from the 1940’s cabaret scene to a 70’s disco and each time there is excitement, there’s something new and something even more admirable than the last.

Anyone can love burlesque – and I urge everyone whether into theatre, into cabaret or none of these art forms at all to see a show. There’s always something either in the theme, in the types of performers or in the choice of routine ideas – one show leaves you confident, elated and able to conquer the World.

London Burlesque Festival
May 6-22
Dingwalls

Theatre

Review Richard III, Brite Theater, Lion and Unicorn Theatre by Hannah Goslin

May 22, 2016 Hannah Goslin Leave a comment

Richard III

Brite Theater

Lion and Unicorn Theatre

(3 / 5)

Notably this year marks the 400^th anniversary of Shakespeare’s death. His time was one of his writing on a standard stage, an all-male cast – the theatre not being a place for women to perform. And this would take a long while to change.

So who would have thought back then that so many different developments over the 400 odd years of his texts would lead to a one woman show of Richard the third in the top theatre of one of London’s quintessential London Theatre Pubs.

Those who are unaware of this play – (and where have you been?) – Richard is a deformed hunchback whose is treated outcast due to this. His anger and jealousy from being overlooked overcomes him to lead him into plotting deaths, marriage and eventually becoming King. As all villains, he soon gets his comeuppance leaving the scene with the famous line ‘’A horse, a horse, my kingdom for a horse’’

Described as a ‘one woman show’ – Emily Carding playing Richard is not alone. We are greeted to her room and given characters ourselves. The story is told through a narrative and we are spoken to as the characters but not with needing to respond. Carding manages to include us and show the two faced nature of the character – the welcoming and personal nature to each of us, and then the ‘behind the back’ narrative of what she really thinks of each of us – revealing her plots one after another.

We each feel different throughout this exchange – we feel like the characters and then we feel as part of her plot. Watching her interaction with the other audiences, her well constructed character she has developed rubs off onto each of them, making them believe their characters. The King is notably more proud than the average Joe who walks in, the love interest soon becomes flirtatious and shy at the conversation and touch of the actress, and myself as the Richard’s friend? My outsider critical self could not tell but perhaps I was even convinced by her charm to be someone else for the night.

A minimalist set but full of skilled content, this ‘one woman show’ becomes about all of us and by doing so, becomes a very clever and immersive piece of theatre.

Drama

Richard III
The Lion and the Unicorn Theatre
May 16-28 May
Written by William Shakespeare
Direction by Kolbrun Bjort Sigfusdottir
Performance, props and poster by Emily Carding
Adaptation by Kolbrun Bjort Sigfusdottir and Emily Carding
Direction by Kolbrun Bjort Sigfusdottir
A Brite Theater Production

Circus

Review Closer, Circa, Udderbelly by Hannah Goslin

May 13, 2016 Hannah Goslin Leave a comment

(4 / 5)

Closer
[Kloh-ser]
Adjective
Comparative of close
Close
[Klohz, Klohs]
verb (used with object), closed, closing.
to bring together the parts of; join; unite (often followed by up)
verb (used without object), closed, closing.
to come together; unite:
to come close:
to grapple; engage in close encounter (often followed by with)
adjective, closer, closest.

having the parts or elements near to one another:
being in or having proximity in space or time:
marked by similarity in degree, action, feeling, etc.:
near, or near together, in kind or relationship:
intimate or confidential; dear.
based on a strong uniting feeling of respect, honor, or love:
Audio Described review

The word closer has so many different meanings – the list goes on. It can be negative and it can be positive. In the case of Circa’s performance of ‘Closer’, it is certainly a positive experience emanating the above definitions and some more.

How much closer could one get to a small, intimate audience, only a matter of inches away from bending, flipping and tumbling bodies, inside the belly of a giant purple cow? Everything about this show is the definition of Closer – the performers with their relationship, trust and confidence in one another to undertake stunts in a small area, to be close physically with one another to do death defying aerial tricks, push, pulling and throwing each other around the stage; the interaction with the audience through speech, facial expressions and involvement of a select few.

Through the dangerous tricks, the rare but possible accidents and often the technical aspect of rigging and staging, it’s a new take on circus to attempt this in such a small area. Stereotypically we are used to the big tops, some branching out and bringing new takes on circus but still in large arena’s such as the astonishing ‘Bianco’ by Cardiff’s own No Fit State Circus and the occasional trapeze, hula hoop or juggling in small cabaret settings such as variety and burlesque shows. However, this is instantly something new. Minimalist set and rigging, the majority of the tricks performed make use of the performers bodies instead of staging and rigging. Moments that make the audience gasp in pain, when the performers look comfortable and still at ease. These performers make everything look so easy – but still, DO NOT TRY AT HOME!

These awkward oddball cool kids not only give us tricks, but they give us acting. Their strange romantic yet family-like playful interaction with one another as well as with us gives us a warm feeling inside and also a little giggle. With the addition of music which is a mixture of popular songs, remixed versions and then strange instrumental combinations, these parts of the Circa puzzle gives the whole sense of a strange Parisian world where these characters are the only 5 who reside – but yet we are welcomed and included with open arms.

Cringey yet fascinating and exciting tricks, air defying skills, a bit of danger, a laugh and something a little different to the ‘norm’ – what else would you want to spend your night watching?

Dance

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

May 12, 2016 Hannah Goslin Leave a comment

Into the Hoods Remixed

Zoonation

Peacock Theatre

06/05/16

(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.

Opera & classical

ENO Season Launch 16/17 by Hannah Goslin

May 11, 2016 Hannah Goslin Leave a comment

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.

Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw