All posts by Hannah Goslin

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Review Rotterdam, Jon Brittain, Trafalgar Studios, By Hannah Goslin

 out of 5 stars (5 / 5)

Why is it that Transgender and LGBT movements are still considered taboo? We have had such horrors through history in regards to discriminating these persons, up to the Orlando shootings recently. Why are we still struggling to bring these stories to the forefront? We tell tales of every other type of person in the world but hardly ever of LGBT persons.

Enter Rotterdam – this play written by Jon Brittain looks at a lesbian couple and their troubles in acceptance – Alice has not come out to her parents with a real fear to do so and Fiona announces that she has always identified as a man and wishes to make the transition into Adrian. We see their relationship fall and the emotional struggles they face with this huge change. Comical interludes tend to be brought in by Adrian’s brother Josh and Alice’s co-worker Lelani who we realise also take on a substantial amount of emotion in this situation.

Rotterdam is an extremely clever play. It is filled with emotion and struggles, with us really feeling for the characters but is also hugely hilarious, being not afraid to take a comical spin on the rollercoaster, without being offensive and by taking a delicate and sympathetic approach on this realistic story.

I admit that I came away from the production in tears – all the performers did an amazing job to naturalistically and truthfully bring the pain, confused and uncertainty to the stage. It felt as if we really were involved in the story and always engaged. It brought ideas across that without being in the situation that you would not necessarily think would affect those who are. It questions whether changing gender makes you a different person and soon turns this around to show that it can physically but really the same person is there.

Rotterdam is an excellent production. Taking a very respectful approach to the story, it leaves you really thinking more about this situation that happens across the world. As the song says, ‘This could be Rotterdam or anywhere’.

http://www.atgtickets.com/shows/rotterdam/trafalgar-studios/#overview_tab
 
 

Review, Stars and Strippers, The Folly Mixtures, London Wonderground, By Hannah Goslin

 out of 5 stars (3 / 5)

The Folly Mixtures are a cabaret and burlesque troupe that are well known for their consistent and smooth performances using modern, remixed music, fire play and dirty comedy.

Tonight was of no exception. Listening to our compere between sections, the theme of America is picked upon satirically, with comparisons to us as Brits and our stereotypes. This is clever, at times improvised and makes us laugh at the irony of our own situation as well as the stereotypes of America.

With the performance, the different routines also pick upon stereotypes of America – the old 1950’s diner girls, baseball to even a poke at Donald Trump and the current election campaigns. We love all of these – bedazzled and glittered, the stereotypes are nothing but fun and gorgeous, high end and professional.

We are also introduced to our only male burlesque performer – Dave the Bear. While like the women, he is there to perform routines and for us to appreciate the human form, he is flirtatious with the male audience members, crude with his jokes but all of this is brilliant and comical.

My only issue with this performance is that Burlesque is known for its celebration of all body types – these woman have wonderful bodies, almost envious but very similar and lacking celebration of all women. I also find that the group performances get a little samey when solo performances would have been welcomed to showcase each performer and perhaps a little more comedy in these routines would have created a different dynamic.

Overall, the Folly Mixtures were beautiful, glamourous and skilled. A great night out none the less.

http://www.thefollymixtures.co.uk
 

Review, Sh*tfaced Showtime, London Wonderground, By Hannah Goslin

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 out of 5 stars (4 / 5)

The London Wonderground is always a favourite place of mine each Summer. It is a very versatile place full of comedy, cabaret and new and old exciting acts.

As the name suggest, Sh*tfaced showtime is going to be fuelled by alcohol, theatre and comedy. We are unsure what the ‘showtime’ part is going to be but this adds to all the fun and essence of surprise through the night.

The premise of the show is for a group of classically trained musical theatre performers to put on a 1 hour version of a production [in this case, Pirates of Penzance] while one performer is ridiculously drunk. The audience are invited to participate when we believe that the performer is becoming sober and this is where our host intervenes to give ‘one more drink’ for which we eagerly chant.

Watching a person on stage becoming hilariously drunk, you would think that this would be uncomfortable. It is not. It is full of hilarity, as we watch her attempt to keep to the performance but get distracted and all the frivolities we associate with intoxication. We as the audience find this all very comical as outsiders but we can all relate to this state. Despite this, her singing and performance ability at times is very accomplished and is evident her talent despite bringing a lot of comedy with her distractions.

The other sober performers are also very talented and skilled and in their own right, bring a fantastic version of Pirates of Penzance. There are times where the performance goes off course due to our drunk performer and they do well to bring it back to the narrative or to go along with the diversion. Their trust and interaction with one another is genius and makes you feel safe that despite the uncertainty of what could appear on stage [or even off stage].

Sh*tfaced Showtime is genius. To be brave enough to go ahead with such a concept is admirable and executed with sheer perfection and brilliant talent.

Review, Romeo and Juliet, Everyman Theatre Cardiff, By Hannah Goslin

De Ja vu ensures when I arrive once again for the second time that day at the Everyman Theatre, this time for Romeo and Juliet.

The basis for the staging is the same as before, with the added props and different lighting. It does become a different scene and clever recycling of the set. As before in Peter Pan, performers had head mics, this performance has a microphone at the front of the stage that picks up the entire area. This does dip in and out with parts being louder than others – a slight lack of consistency. This is where the performers should have compensated for this potential eventuality with their own voices. The lighting itself was below average.  It felt as if the technician was testing the lighting on the night itself and times when the sky was dark, the staging was not sufficiently lit or had drastic changes in light that felt uncomfortable and a little annoying – taking attention away from the performance.

The cast  were a large range of abilities and ages. Feeling as if I am pulling away from supporting my fellow young performers, it felt as if the older performers were the best- whether this comes from experience or more understanding of the play. Others seemed to lack understanding of the text, evident in their stunted execution. At all times performers were on stage, watching the scene intently if not in it but this was only effective when it was consistent – I found myself being drawn away by performers who lost concentration and looked bored as their eyes drew away from the performers.

Marketing the show, we expected to see a traditional dressed production – which is hard to get wrong in performance. This performance had taken a modern approach to the performance and this was fine for what it was. The producers could have worn any clothes and it would have been the same. An abstract and metaphorical approach was taken at times, using basic physical theatre to represent parts. Again this lacked consistency – we either wanted an emotional and real interpretation or a physical theatre piece. It unfortunately did not seem to gel in this case.

Romeo and Juliet unfortunately felt confused and lacking a clear path. While the performers seemed to work hard, it did not always pay off and I came away feeling a little uninspired.

 out of 5 stars (1 / 5)

Review, Peter Pan, Everyman Theatre Festival

Image by Natalie Johnson-Rolley

It seems that this year is the year of open air theatre. In the heart of Sophia Gardens we await to be transported by the boy that never grew up across the skies of Cardiff to Neverland.

With a cast of young performers ranging from very small to older groups, this large cast has the great task of a 1 hour production of the Disney rendition of this great story.

Our main characters are as happy and go lucky as we expect them to be – their singing voices very accomplished for such young actors. They are confident and in keeping with their characters. The role of the Dad and of Hook is played by an adult male- a very tasteful decision in showing the patriarchal hold of women at the time with his demands of Wendy becoming a lady and to also show the difference between children’s freedom and adult restriction. The highlight of men vs women running throughout the play and especially with the song entertaining lyrics of brave men, soon to be changed by Tiger Lily and Wendy to Brave girls is a lovely boost and message for growing girls and young women.

The ensemble all evidently worked very hard for their parts – doubling up for different characters and adjusting well to show the difference from Pirates to Indians to Lost Boys and Fairies with ease and skill.

There is an element of pantomime with the production- the costumes are bright and stereotypical but this is Disney and relatable to the children of the audience -some very young.  The use of a clever prop flying high in a snake like fashion over the stage for the crocodile was inventive and really enjoyable to witness.

It did feel as though the smoke machine operator was a little over enthusiastic- at times the stage was disguised and us audience too with an abundance of smoke that it was hard to see the performers and how hard they were working.

Overall this is a lovely and humble family show. A condensed version of the Disney film, it’s entertaining for all families of all ages.

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

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 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

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 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.