All posts by Hannah Goslin

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Dance, Theatre

Review Origins – Animikii Theatre by Hannah Goslin

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out of 5 stars (3 / 5)

In this darkened room at the bottom of the Southbank Centre, an intimate setting with a small audience feels like a secret space for a spiritual group.  4 poles lit up, one with a hooded robe draped on it and boxes that remind me of some form of religious set, there’s a serious feel to the atmosphere, cleverly set by this staging and lighting that we are made to feel anxious for the performance to commence.

A physical theatre piece, the biblical story of Abel and Cain is the premise for this beautiful piece of work. For those unknown to the story, as I was myself, these two brothers are the direct descendants of Adam and Eve. Eventually, Cain murders his brother Abel which is unclear in the bible as to why. Many have understood it as it was through jealousy and envy in God’s attention to Abel and not Cain. Unfamiliar to this story, a piece made of physicality and sounds and no speech, Animikii Theatre did a fantastic job in telling the story.

We are introduced to these shirtless characters, who play with one another using the space to give the initial build-up of the brotherly connection. Using laughter, sounds and imitation of actions through avant garde physical metaphors, the audience giggle along with the almost caveman-like attitudes and relationship. This is all set in the concept of Cain’s memory – switching from fun memory and obvious timeline of events, to Cain’s switch into turmoil at this reminiscence.

The movement and choreography of the piece brings us into mystical interpretation of what leads to Cain’s mental destruction. A wonderful dreamlike state, Abel’s loveable and fun character turns into a devil like character in a red robe, who tricks Cain into false sense of securities. It’s unclear who this character is until we return to ‘reality’. The performers do well to switch from positive to negative, to evil to innocent and while we know the final out come from the initial physical summary at the beginning, it is still a shock.

The lighting in this dark room is versatile, and while we should base physical theatre pieces of the movement, the contouring of the body and interpretation, the lighting plan highlights the men’s bodies in these states to render us in awe at their physical abilities.

Origins creates the right atmosphere and does well to use physicality and sound to bring this ancient story to life.  We are pulled into the biblical story without a feeling that we are being forced religion upon us.  We relate to the relationships and actions which is in your face but not negatively.

Theatre

Review Cyprus Avenue The Royal Court by Hannah Goslin

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We enter a small but perfectly formed room with a low level traverse stage. Completely white and clinical there is nothing in the room but the audience areas and 2 chairs in one corner of the square carpeted staging, and one chair diagonally in the other with a small table containing a jug of water and a glass. Very minimalist, the area is open to the unfolding of absolutely anything.

Based in Belfast, we meet Eric played by Stephen Rea who is well known for recent television programmes such as War and Peace and Dickensian, and his counsellor Bridget played by Wunmi Mosaku, who sit the furthest opposite each other as they can be. The story unfolds from the point of view of Eric reminiscing past events that have lead him to this current situation. We begin with the simple sense that the man needs help and this is all it is. As the hour or so passes, his insanity becomes even more palpable and chaotic leading to actions and events that are dark and for the audience, shocking.

The play cleverly plays on cultural, emotional, political and religious identity. The main concept is of the Catholic and Protestant war and prejudice in Ireland. Eric representing the North consistently professes that he doesn’t hate Catholics or the South, yet his rants and racist wordings express otherwise. Cleverly, the use of a black character in the counsellor highlights the sheer ridiculous nature of Eric in feeling these ways – unintentionally relating to African and black culture in a racist manner, the counsellor turns this around to show that there is no difference in cultures if they were to go simply by his description. With the state of theatre at the moment looking into the diversity of actors, Wunmi Mosaku’s character has the most brilliant line noting that she is not African, she is British. Being born and bred in Britain, this is her identity and this, intentionally or not, pokes attention to the current theatrical world and its lack of diversity and the absurdity of this. Just as Eric is Irish despite being in the North, and Mosaku’s Character Bridget is British and not African, the casting of characters should be based on their talent and not based on their race, ability, gender or orientation. It is no one’s business what you are, but what you can bring to the table, which Bridget points out is wrong with Eric’s stereotypical view of the world.

The writing of the play is so intelligent, that a lot of comedy comes from the irony of the situations but along with the actor’s brilliant portrayal, the sense of timing and take on the words makes the majority of the production extremely funny.

This is what makes the slow building crescendo even more shocking. Eric’s mental state deteriorates more and more over the hour to lead to a huge case of seeing red and committing horrendous atrocities. The well-constructed violence in production is so realistic that writing this review and remembering this still makes me queasy. The once white and clinical staging becomes messy with mud, items thrown across the carpet and blood leaking from the floor. Symbolising Eric’s mind, his once innocence is tainted and becomes very dark and messy. While slowly building and pushing you into a sense of false security with the comedy, the ending where chaos ensures but suddenly stops, returning to where we began in Eric’s retelling of the story. We are left shocked and amazed at this story, on this stage, at this moment in time and the beautiful performances by the actors in this production.

Looking around the audience, not one single person looks relaxed as if their thoughts of the story presented on stage had still to be resolved. Being left vulnerable as an audience and to change preconceptions is quite a skill, Cyprus Avenue written by David Ireland and directed by Vicky Featherstone achieves this beautifully, disturbingly and intelligently.

Theatre

Review X The Royal Court by Hannah Goslin

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The stage is white, clean and leaning downwards towards us. As the ‘curtain’ which is more of what looks like the outside of a ship is lifted, the staging continues this colour scheme but is constructed with a huge crack in the middle. Are we in a submarine? The large window where nothing can be seen could be a more futuristic decoration to the current submarine style, a large ladder to the side of the stage into the ceiling makes you feel as if you are under something. And the stage is silent. The two characters mill around, looking quite anxious, Jessica Raine’s (known for her debut in Call the Midwife on the BBC) looking the most intense, munching nervously on dry cereal. So many questions arise as the characters begin to talk, and you find yourself becoming as anxious as them as you are unsure what they are talking about, without any previous knowledge of events.

As we begin to understand the premise, X (written by Alistair McDowall and directed by Vicky Featherstone) is the story of an abandoned space team with no communication to a future concept of Earth. The world has begun to die, food is made in labs as animals and plant life are long extinct. Technology has long taken over from tangible things and the use of an older character reminiscing this in comparison to a younger generation pointing out the more technologically advanced versions hits home to how we are slowly becoming like this existence. X looks intently at the sense of time – how closely we rely on morning, noon and night, how our bodies unknowingly rely on this and how this can affect us. The combination of all of these elements shows the slow deterioration of the characters sanity, with clever back and forth scene changes from the past to the current. We’re never really sure which is which, along with being consistently plunged into darkness for a scene change, we feel anxious and lack a sense of time ourselves. The production very intelligently brings us into the action this way and makes you as confused as the characters.

Soon there is a very Sci-Fi horror take on the production. The story telling of seeing a girl with an X cut across her face, movement and sounds in areas of the ship and outside that are impossible and the interaction with characters that apparently do not exist. It feels like a Doctor Who episode, with a little less comedy and more adult themes. The same use of black outs, the violence and gory scenes throw at you push you into the situation and characters feelings; the actors using their abilities to consistently be in this state, it is a real testament to them that the constant confusion and high intensity anxiousness doesn’t leave them just as insane after the production has finished. As I was sat on the edge of a row, the darkness and non-rhythmic music made me feel vulnerable, half expecting for lights to flick on quickly and find some scary alien like character staring at me from the aisle.

Ending the production, the scenes leading up to this are emotional, fast paced, almost uncomfortable. X is so brilliant with doing this, that the calm ending where Raine’s character once left alone, has a daughter who continues the abandoned life in this space hub, seems unfinished. While in a way it is resolved and gives us the chance to calm down, it makes you wonder what putting us in such fearful situations was for. However, this is answered with the sense of loneliness, the loss of the sense of time, the emotional and intensity of the production; nothing is resolved. We still are left not knowingly what happens to this space hub.

X is beautiful, yet scary, evoking a rollercoaster of emotions and to be able to combine such opposite elements is a testament to the production, the actors and the writing. Going home, it certainly makes you think: What will we become?

Theatre

Review Hand to God Vaudville Theatre by Hannah Goslin

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One of the most anticipated shows in the West End, Hand to God is an unusual play using the combination of live actors and puppetry. A fully adult play, and not for anyone with a sensitive side to the taboo, Hand to God’s description sounds an awful lot like Avenue Q and this is possibly a comparison they have encountered many a time.

As one who has not seen Avenue Q but fully aware of its popularity, this production produces all the elements that makes it not only different but wildly adventurous.

Based in America in what would seem as the Bible Belt, the premise of the play is a combination of characters who all are a little strange to say the least. Based in the basement of a Lutheran church, Margery runs a puppetry class aimed to bring the idea of God to teenagers. Margery’s husband recently died of a heart attack and it soon becomes evident that this is her coping mechanism. Among the class is her son Jason – our main character who also uses this class as a way to help with his grief; his interest in puppetry becomes evident with his developed sock puppet, both in the making and in the performing. Other characters who fail to be up to his standard in puppetry are a sweet and naive young girl Jessica and a troublesome boy Timothy who is in love with Margery. We have Pastor Greg, a kind soul who plays the God loving stereotype which makes the comedy all the more better when this character is purposely broken. And finally, while not real life character but especially important, Tyrone our main puppet. He is filthy, angry, hilarious and seemingly possessed by the ‘devil’.

While filled with comedy, the play aims to make controversial points about religion and the how and whys of how it has come into life. It points out the good and bad of feelings, thoughts and actions and how these have been developed with a book of stories and omnipotent ‘characters’. This however is challenged by what would seem is a possessed puppet with its own mind and control over Jason. Not only scary, the scripting and premise borderlines, a horror film and The Muppets.

Harry Melling, best known as Harry Potter’s cousin in the movie series, is an incredible performer. As one who admires puppetry as an art form and performance technique, Melling’s execution of Tyrone is astounding and impressive. Somehow he manages to bring every emotion, every thought process and the controlling nature of the puppet over Jason to life. Changing from Tyrone to Jason, he easily and very quickly is able to change his voice, personality, facial features and over all characterisation from one to the other with no falter. In this, you soon are lost in the two characters he portrays and find yourself looking at the puppet as another actor.

Full of sex, language, comedy and a funny two fingers to religion, Hand to God is a fun loving and clever production which without the skills and execution of the actors (and puppets) stands out on its own leg to anyone who thought that a live actor/puppet production had been done before. I can tell you, it has not!

Film & TV, Uncategorized

BAFTA Cymru Awards 2015 by Hannah Goslin

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Gruff Rhys winner of Original Music Set Fire to the Stars
With a carpet as red as the Welsh dragon, the streets of Cardiff opened up to support the glamour and talent that has come out of Wales for the 2015 BAFTA Cymru Awards. Stars that are known among the TV dwellers, some who have reached the realms of Hollywood and even celebrities that fly the flag for this wonderful country were out in their glory in the centre of the capital.
Seeing and getting the chance to speak to the likes of Scott Quinnell, Charlotte Church and Russell T Davies was a joy but also a warm sense of pride was evoked for someone who comes from a Welsh mother but predominately studied and trained in this creative country that is not given enough acknowledgement in the industry.
It is all well and good celebrating the United Kingdom as a whole, but to celebrate Wales specifically is a triumph. Underestimated for its acting, musical and writing talent, we have brought out fantastic shows and films from the BBC, S4C and Pinewood Studios.
This especially comes from conversations I have had  with those I know in other parts of the country. There is an attitude that this event is nothing but a lower version of the larger event – a laughable act to celebrate Wales. But how can this be? Do people so easily forget that majority of our programmes and creative people come from Wales? And that this is only growing.
Due to this underestimation of Welsh talent, the focus I wanted to find from talking with these people was what should young people be doing in Wales to get into the industry? Many move away to find better opportunities, and while I moved myself, I was under no illusion that there were prospects in Wales, but more to experience somewhere else for a short time.
Russell T Davis especially was so interesting to speak to. He recommended that the industry is hard work but just to persevere. Writing, especially, the key is to just keep writing. And while this is specific, it could be said that this is great advice for everyone. Working hard gets you everywhere and within a country that slowly is becoming more recognised for the talent it produces, the industry will become harder than it already is, and hard to break.
Other conversations, mostly with actors gave opinions that Wales is a great place for the young in the industry. With fantastic institutions, the way to train and get involved has changed from the days of leaving and finding the hard work of the big smoke that is London. London and England no longer is the be all and end all of the industry but nor does the advice to work hard and find these institutions means that the industry is a lonely place where you look out for only yourself. It was said that finding a group that supports talent such as drama classes or dance classes can also open avenues. Some fall into the industry from these outlets but ultimately, with Wales being such a small place, these training classes can open avenues which still will rely on hard work.
This patriotic and beautiful celebration gives much food for thought, especially for those like myself who moved away to find herself never far from Wales and returning. London is beautiful, it’s fantastic but it is vast. Sometimes lonely and difficult in this vastness. And while Wales is becoming more and more recognised for fantastic talent and may one day will become as vast as London, the warmth and patriotism of the country at such events shows that the industry does not need to be so wide and for the solo, but can be homely, welcoming and so close-knit as Wales as a whole, in my experience, has always been.

Theatre

Review The Waiting Room Arts Theatre by Hannah Goslin

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Arts theatre has created a great concept with some lunchtime theatre. Available for around 40mins in a lunch break, the top floor of this bohemian centre is transformed into a place for people to experience a journey in their break from the daily grind.
I chose to attend this with an interest to the Arts theatre that I had not yet attended and to experience this unique and very versatile idea.
The Waiting Room consisted of a small cast, with the narrative seeing the relationship and mystery of two strangers meeting in a dingy waiting room. We can only assume this is of a doctor or hospital waiting room, until it is revealed in speech of a comparison. This continues the mystery. The two character’s share a unique similarity, one that climaxes the plot. Without revealing this, I found that the narrative was interesting and kept us hooked with essentially a 40min chat. However, when revealed, the mystery isn’t as interesting or climactic as would first appear, struggling to compliment the first three quarters of the storyline.
The main two actors are wonderful, Beth Eyre and Mark Rush. A well spoken, rich woman who lives off money and a male sales assistant or ‘buyer’ for an department store. Both character’s were well executed and complimentary of the narrative. However, an additional two character’s in the form of the ‘receptionist’ or ‘assistant’ and the cleaner were introduced. Till the mystery ending, it seemed as if the receptionist had little purpose – with only 3 appearances and less than a few words spoken, unless an important asset at the end, it seems the main character’s could have directed their conversation to an un-answering body. The same was felt about the cleaner who I did not notice till pointed out; to the side of the room forever shining the Arts Theatre’s mural. It seemed that she was there for a sense of comic relief with a thick broad Scottish accent and laziness despite her comments of being the best cleaner. It felt unneeded and unnecessary and the break from the intense conversation did not gel well to the process.
Overall, The Waiting Room was an interesting concept. The narrative was interesting and the reveal gave an emotional sense, however there was a feeling that there was more to be given and something of great potential.

Theatre

Review The Elephant Man Theatre Royal Haymarket By Hannah Goslin

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A story in itself that is legendary, The Elephant Man is a true tale that has been told throughout time. With legendary films starring John Hurt and Anthony Hopkins and other performances through time made on the famous man from the 1800’s, the new resurrection in play form has already graced the stage on Broadway; both with Hollywood star Bradley Cooper, it has now made a boom in London.
For those unknown of the story, John Merrick was a true figure in 1800 society who suffered physical deformities from birth. Beginning in the work house and later in the legendary Victorian side shows, when cast out by his carnival ‘partner’, a compassionate and intrigued medical physician, Frederick Treves, takes him in to the London Hospital for analysis. Becoming friends, Treves helps him with funding to live a normal life and give him the opportunity to enter into society, till his eventual death.
Beginning this extraordinary tale, the design of the set was minimal. There was not much need to change the scenes, just simple additions such as a table and chairs, a bath tub and the use of curtains. Lights were simplistic, and while the costumes were true to the era, it could be easy to fall into the trap of making this more realistic to the performances of the time. However, music and sound were used to highlight the beginning and other elements, creating an eerie atmosphere and something relating to the time period but also something modern – this relating to the stage set up once again in avoiding making this a 1800’s production.
What we are all waiting to hear is of the famous Bradley Cooper as Merrick. There is always part of me that is cautious and at times unwilling to like it when large stars take the leading role. While bringing in bums on seat and revenue to the industry, and of course, at times I have already been proved wrong with stars such as Imelda Staunton in Gypsy, it is also a wonder whether this is blocking the way of potentially more talented rising stars. However, like Staunton, Cooper is more than a welcome addition to the role. When someone is able to act as profoundly and incredibly as he does as Merrick, his already abundant stardom is instantly forgiven. With no special effects, lighting, costume or prosthetics to highlight Merrick’s deformities’, Cooper contorts himself from a ‘normal’ human figure, to the character, while Treves speaks from his medical examination of each body part. While some parts of the body as missing such has his enlarged head and sagging skin, this is forgotten as his contortion is so incredible that you can almost imagine it. With his progression to talking and learning the ways of life, Cooper’s British accent is perfection and even more so interesting with the infliction on the ability to speak that Merrick had – his different intonations famous for their unusual expressions.
It cannot be forgotten that the other performers are just as fantastic without the opportunity to completely transform their figure and voice. Alessandro Nivola as Treves shows a stiffness yet much compassion as the character and his love and care for Merrick is emotionally expressive. Next to Cooper, his performance could be understated, but the two actors bounce off each other in a way that we can only imagine the character’s friendship in reality. Patricia Clarkson, another American actress and one of my favourites brought her comedy and, like Nivola, the emotional friendship that the character gains with Merrick. It’s hard to hear the take on the negative character’s with such compassion shown in these positive ones. Only criticism that can be made of the production is the lack of projection of all characters. Not only those who formed articulate pronunciations, Cooper also struggles with Merrick’s affected voice. The large structure of the Haymarket gives struggle to this and at times, words are lost. Perhaps microphone’s are needed, but a personal argument of mine is unless it is for a purposeful effect, theatre needs to return to its’ original form and training of performers to allow their voice to reach their audiences.
The Elephant Man brings everything to the stage with the slight feeling of modernity. Cooper’s performance not only astounds in the sense of showing true acting talent, but the impeccable ability that the human body and one with exceeding talent is capable of. Not only emotional and heart wrenching, this performance also brings realism and truth of such a difficult story.

Theatre

Act For Change, National Theatre of Great Britain by Hannah Goslin

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Diversity in society is a huge issue to consider. Everywhere is trying to be more encompassing to disabled members of the public, there is more than ever a stamping out of racism and discrimination in all senses.
But why, while much of it is now law, does the arts sector, and notably for this blog post, the theatre, is it not the same?
Act For Change has been alive for around 1 year now, set up by performers who came from what would be known in society as ‘minority groups’. This relates to gender, race, sexual orientation, ability and so on. Its’ aim is to stamp these discriminatory habits even more out of the theatre world.
With testimonies, a Q & A challenging the NT Artistic Director, discussion from a panel and Q & A with the audience, ending on a video of more of those in the industry discussing the subject, AFC covered all basis. And made a real imprint in this industry.
Not enough is being done in encompass disabled performers. While across conference it was a valid consensus that there is an argument of whether the industry should make more theatre showing the stories of individuals in all these sectors or whether casting should be looking for sheer talent and not who they are. While it is a fine line, it seemed that less is being done for disabled performers. Not many are an option, and not much theatre looks at their stories.
A perfect quote I found from the night said, ‘If you want to tell a story you have to tell your own story’.
Different ethnicities, genders and orientations felt the same. Theatre is a way of breaking barriers and addressing taboos and why, on that note, should issues not be addressed that are found in these communities? But why also, are these communities not also celebrated in theatre more? Let’s be honest, many other cultures are more vibrant and exciting that the tweed, tea drinking, white, middle class stereotypes that are continuously produced on stage. Why do we not see this?
Many performers also felt that there was the issue of not being cast because of who they are. Where are the character’s that just happen to be gay? Or female? Or Asian? Does this really need to be such a vital factor? There are gay bankers, female lorry drivers, Asian actors! Why is it that people cannot focus on talent and not on the view of the person entering the room.
Conferences just like these are important to change opinions. Since the blunt interview with the NT artistic director, there has been a change where more theatre is now going to be brought to the NT with a basis on disabled stories and performers, what a difference this makes.
Theatre needs to be not only bring realism and for something for people to admire, but it does need to bring escapism. It needs to stop being run by the elite, and more representative of the people.
More info on Act For Change can be found here;
http://www.act-for-change.com
 

Uncategorized

Review Mondo Galactica London Burlesque Festival by Hannah Goslin

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Mondo Galactica
London Burlsque Festival
Dingwalls, Camden
As is common and unique about Burlesque shows to other performances is the intimacy. For those who are used to seeing burlesque and enjoy this element, the idea of seeing more and more flesh in such a small venue would only encourage, but for others, it can be daunting. Bringing a Burlesque virgin along with me, I was keen to employ my knowledge as a trained burlesque performing (who is awaiting enough time in her current wonderfully busy life to reprise her alter ego for the public) but aware that this could open a new horizon for him.
Choosing Mondo Galactica, I thought that this would be an easy and approachable theme to introduce my geeky friend to. But who was I kidding? There’s nothing shy, retiring or otherwise not in your face (sometimes quite literally) about any burlesque show.
Performers need little else but their talent in this unique form of artistic expression and dance combined with their glamorous and at times comical costumes and make up. Mondo Galactica was one of many London Burlesque festival shows, this specifically catering to the nerds among us.
With an abundance of metallic, shiny, silver, green and so on, we were transported into many areas of cultural Sci Fi. Some performers linked to identifiable themes such as a fantastic Boylesque group, where the men very differently to common Burlesque/Boylesque took items off but not to be naked, but in the way of transforming into different nods to classical Sci Fi, such as the evolution of man and Planet of the Apes. Their synchronicity and enjoyment of their elaborate scene changes did not take away the lacking in the lack of clothing and skin on show. This example trumping those who profess Burlesque acts as glorified strip routines.
Other’s showed strip teasing Robots or Space cadets, including one with a nod to Star Trek, yet all had a versatility and different way of alluring the audience. In this industry and especially this specific show, it is hard to compare acts with the abundance of ways that it is possible to entertain in a sexy way , and of which was evident in the different dance techniques and interactions with the audience.
Finally, one of the most important and fun part of Burlesque shows is the audience interaction. A short and amateur master class for these untrained willingly volunteered audience members showed us their version of what they had – shaking the booty, bumping and grinding and interaction with the rest of us. Encouraging us to clap and cheer, the continued encouragement to vocally and physically participant in this show came with this easiness to relate to the current people on stage.
While specifically catered with the theme, the London Burlesque Shows or Burlesque shows over all always have something for everyone. Whether participating or not, this welcoming community will turn anyone into a new view of life – my friend, with not so many words quoted in saying ‘You know what? I REALLY loved that!!!’.

Music, Theatre

Review Gypsy The Savoy Theatre by Hannah Goslin

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High up in the God’s, this wonderful theatre (The Savoy) is currently housing the renowned and critically acclaimed ‘Gypsy’ starring Imelda Staunton. With tickets selling fast, it was understandable that such a lengthy theatre in height was filling up every night, and so my interest continued escalating.
The story behind Gypsy is based upon true events of the Burlesque actress, Gypsy Rose Lee. Taken from her memoirs, the musical sees the hardship and struggle of Louise (later to become Gypsy) as the shadow of her performing sister, and her determined Mother, struggling to keep grips with her youth and dream of stardom. Events take place, where Rose and Gypsy happen to be in the right place at the right time to perform in the House of Burlesque, where Gypsy is created. This tale of triumph, difficult beginnings and relationships hits every nerve and every feeling.
The staging itself was beautiful and very clever. Scenes appeared and disappeared with a never ending back stage, floating into the shadows and were simple yet effective in illustrating the different areas. No expense has been spared on these ever changing scenes which are rarely used twice, to bring the sense of the character’s constant travelling. Lighting beautifully enhanced specific characters and areas, drawing your eye to the correct moment and to the specific details of the performance. Costumes were also relatable to the times and enhanced each character’s personality correctly. The end costumes of Gypsy, are astounding and lavish – what every vintage loving girl dreams of wearing (including myself!).
Of course, a review could not be written without mentioning Ms Staunton herself. And where could I start? Well known in the acting world, some may have seen her in the likes of Vera Drake and the more contemporary, Harry Potter- it is well known what a fantastic actress she is and the passion and creative skill she has for her characters and projects. However, to see her as Rose, the mother in Gypsy, is something different. Something spell bounding. To quote a patron I heard on the night:
‘I knew she could act but… I didn’t know she could do that! THAT was … something else!’.
Staunton has what myself was unknown of, and that is an incredible voice! Singing every song sent shivers down your spine; her final song, ‘Rose’s Turn’ raised every goose bump and every hair.
Laura Pulver, as Gypsy also brought an amazing depth to the show. Perhaps easy to be in the shadow of Staunton, she makes Gypsy her own and stands out in her own right. Known for shows such as Sherlock and Robin Hood, Pulver brings a completely difference essence to the stage than what you see on television. Her dramatic change from mousey Louise, slowly to sultry Gypsy Rose Lee is fantastic in her change of personality, look, body language and even change in her voice. She shows, simplistically but in a very talented way the growth in age and maturity of the character, so convincingly that it is hard to forget this truth when you feel as if you are growing with her.
If you do anything with yourself till November, make a date with Gypsy. The musical will take you under her spell as Gypsy Rose Lee was known well to do herself.