All posts by Hannah Goslin

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Review: Lie Low, Ciara Elizabeth Smyth, Royal Court Theatre, By Hannah Goslin

 out of 5 stars (4 / 5)

In this square bit of carpet, a duo bring a story of abuse, mental health and difficult relationships.

Faye’s home was broken into; she had come home drunk and therefore, the timings and activities are a blur. She’s not sure what has happened… but she is sure. She hasn’t slept and then, by rekindling her relationship with her brother, she enlists his help to “cure” her. But what develops are home truths, forgotten abuse and no cure in sight.

This harrowing and intense story is mostly based on the verbal interaction between Faye and her brother Naoise. They are rekindling their relationship after a year of no contact after the home invasion. Soon, truths come out on both sides and the change of blame and shocking events switches between the two. It is more than easy for us to side with Faye as a female suffering with trauma, but the story often takes a turn, putting her in the position of the abuser. It is shocking to say the least but important in highlighting the lack of gender in trauma and abuse.

The elevation of the story, interspersed with “flashbacks” that have been heightened by music and dance, add a theatrical element and to some degree is rather comical. But as it repeats, as the story descends into chaos and fear, these become more intense. McCurry’s (Faye) descent into madness, while trying to be rational is a triumph and ultimately shocking. The reaction by her brother and his physical show of fear shows that this isn’t normal and we soon jump to his side, full of fear and worry.

The energy between them is palpable and some when the most shocking moments happen, a pin could drop with the shock and quietness we experience. The changing between theatricality and almost naturalism is seamless and ensuring the important story is told and experienced in a mind blowing way.

Lie Low is a fantastic piece of theatre. It highlights important stories and the impact of trauma, but also of gender-less abuse. Theatrically it is brilliant and does well to change the platform between reality and the imagined.

Review, Spirited Away, London Coliseum, by Hannah Goslin

 out of 5 stars (4 / 5)

From My Neighbour Totoro, to the world acclaimed Spirited Away, Anime theatre is growing as a trend on stage and Studio Ghibli is taking over the scene. Full of Japanese folk magic and stories, the exploration of different culture is hitting mainstream and changing the way of theatre.

Studio Ghibli has a enormous following. It has transferred to memes, popular culture, a staple amongst the alternative and with all films on Netflix, crossing into the more well known. Totoro began this new theatrical stream last year, in partnership with the RSC and has lead the way to new grand and impressive performances.

Spirited Away is the story of Chihiro who gets lost in a magical bathhouse and meets strange creatures and gods along the way. She gets tangled into misadventure on her quest to get back to her parents and her real world. It is comical, strange and magical.

The story begins in a forest and so the stage is already set up for this, foliage creeping into the walls, across boxes and the orchestra pit, giving that sense of immersion and invitation. Generally, the set is incredible: revolving structures, elements that come from the floor, the ceiling, the wings – there is so much to making the ever changing scenes and this happens seamlessly and effortlessly. The set itself is well crafted and beautiful, reflecting to minute detail the scenes and colours in the film itself. It is very much as if the film has been transferred exactly to the stage, supported by exact costuming and theatrical techniques to bring the magical creatures alive.

Puppetry is huge in this piece, with standard puppetry, supported by puppeteers, to fantastic inventions using different sizes of the same character for perspective, surprising use of the auditorium, creating those “wow” moments. The larger creatures range from the building of different pieces together to formulate as one, operated by various puppeteers, to full bodied costumes. The effect is incredible and reflecting almost exactly to the film. No Face, noted for growing in stature throughout, begins as one person – the costuming and movement, almost butoh-esque and bouffon-esque, is unusual and works together to create this figure that is almost human but certainly moves differently. As it grows, more people add to this movement and large props are used. The impression is magnificent and so fantastically well done.

A live orchestra makes this especially special, bringing life to Joe Hisaishi’s well known compositions and filling the auditorium with whimsy. I say it all the time, but there is certainly something awe-inspiring of live music accompanying theatre. While the production is innovative, the live orchestra brings it back to theatrical roots.

What was also brilliant and unlike the recent Totoro, is that, along with keeping to the story almost exactly, the production was in Japanese. It was wonderful to hear original language on a west end stage and enveloped us in that immersion. However, subtitles were supplied but very much at the side of the stage. While I know the story, I felt my head consistently turning to read and unfortunately, this took me away a little from the scene. I felt I missed the beautiful minor elements and some action and likely will have to come and see again without engaging in subtitles.

Spirited Away is magnificent, beautiful and extremely theatrically clever. It is almost a carbon copy from film to stage and a great introduction to Anime but also a proud moment for already existing fans.

Review, Diana: The Untold and Untrue Story, Awkward Productions, Kings Head Theatre by Hannah Goslin

 out of 5 stars (4 / 5)

What do you expect from a show with such a title? I’m not sure. I wasn’t sure if I was attending satire, a royal love letter or a complete reinvention of Diana Spencer. In a way, it was a little bit of all this and a whole lot more.

We meet Lady Di, in heaven, retelling her * untrue * story of love, loss, death and gay rights. We rush through her life in a whirlwind, facing facts we know from the papers and others that are assumed/invented. Boundaries are blown away, laughter is rife amongst the chaos and reinvention is something of genius.

Linus Karp is the absolute spit of Diana in physical form and in every mannerism. They have it down to a tee in the subtleties and in the elements we know her for; the voice, the slight head tilt, adding other hilarious physicality such as the perceived stiff royal wave. While scripted, there are moments of ad lib which are done in the most Diana of ways and keeping entirely to character. There are certainly moments when you need to remind yourself that this is not the real Diana and this is the untrue story.

Camp, hammed up multi-media and narratives are included, moving a story to something very theatrical, satirical and utterly hilarious. Repeated phrases such as “I am the Queen” or “Whatever X means”, just become funnier and funnier. Expected but always a brilliant theatrical addition. It adds to the chaos and the comedy of it all. Karp is also not afraid to attack conspiracy theories, pop culture references, bold statements, change facts to fit the comical narrative, about the royals and the dark humour of this is done without holding back, which only makes it more genius and more funny.

With this being a 1-2 person cast, many other elements are supported by audience members, prompted by the big screen, to get up, perform and read lines. We have Lady Di’s parents, a corgi, made up nannies… all which threw themselves into the roles and had fun. The audience was spectacular and really took the interaction with all they had. It made the show flow and added to the comedy and enjoyment, to see that they also were having a great time being involved.

Diana: The Untold and Untrue story is a laugh a minute, humorously dark and boundary pushing, with that extra sprinkle of campness: a perfect performance if you want your sides to split while questioning if Diana has been resurrected in front of you.

Review, The Sleeping Beauty, Birmingham Royal Ballet, Sadlers Wells, By Hannah Goslin

 out of 5 stars (4 / 5)

I am ashamed to admit that my knowledge and version of Sleeping Beauty is entirely from Disney. I’m used to the owl dancing in a coat, an impossible leaning cake (which I want for every birthday, even at 31 turning 32) and the big dragon. So when I came to this production, the storyline following, at times, a different path, it was like a new story for me.

These differences are subtle. But to summarise the story of The Sleeping Beauty in this production: a girl (Aurora) is cursed by an evil fairy, after she isn’t invited to her christening. When she pricks her finger on a spindle, she would fall into a 100 year sleep. And so up until her 16th birthday, all sharp objects are eliminated from the palace. The evil fairy manages to sneak a spindle in and Aurora falls to her fate. Only true loves kiss releases her, where she awakes to a beautiful marriage and guests of fairy-tale royalty.

In this day and age, we are so used to modernisation of tales, of a reinvention of tradition, and often this is refreshing and allows the story to be told in a new way. However, Birmingham Royal Ballet went against this grain and kept it very traditional. And this, in itself, was absolutely refreshing. The opulence of the stage, the set, the costumes was exquisite and gave me a goosebump-ed feeling of the days of old, where audiences dressed up to attend and were part of the elite. The beauty of this, is that, at a very affordable price, anyone could come to this production and get that exact feeling. They get to come and feel special, and that was evident in the eyes of many young children in attendance.

The stage had so many layers to it and rose so high, that we felt as if we were really in a grand European castle or palace, with all the pomp and circumstance, the historical costumes along with the beautiful and decadent tutus, allowing us to not only be transported in time but in place.

Accompanied by a live orchestra, the tradition continued with the accompaniment, but also felt extremely special. There’s something about live orchestral music that makes you shiver with awe and excitement, and the atmosphere it helped to create were effective with the change of the mood of the scene.

The dancing of course was spectacular. Not a foot was wrong and tradition continued to seep through in each member, whether a principal or in the background. The only qualm is that some more technically advanced moves that required balance did not always translate to the dancers face and so the panic and concern of this became evident and made that moment lose its magic somewhat.

The end of the story, we are treated to new characters who attend the wedding. Puss in Boots, The White Cat and Little Red Riding Hood are introduced, providing some giggles and some change of pace. It’s only at the end in the final bow that a few more appear in the guise of a Sultan and another furry creature. This was a little confusing and likely to do with some tradition in the ballet. However, it felt a little out of place and distracted somewhat from the celebration of the cast.

Overall, seeing traditional ballet and in the form of a story I thought I knew, but evidently did not, was magical and special. We were transported in time, in place and into a fairy tale world.

Review, Gunter, Dirty Hare, Royal Court Theatre, By Hannah Goslin

 out of 5 stars (4 / 5)

Gunter, by the initial synopsis, sounds like a story we know well. A witch trial, where the outcome either way is not a way out and where women have been condemned, sexualised and abused. However, Gunter is a little different. This particular trial starts with a football match. The richest man in the village, Brian Gunter, murders two boys at a football match, escaping imprisonment because of his status, gender and his money. But when his daughter suddenly begins convulsing and acting strange, it descends into a witch hunt for the two boy’s mother, who is believed to have cursed Gunter’s daughter in revenge, commenting on the difference of gender in finding justice, when she is sought after to be condemned.

A historical tale with only a small amount of fact recorded, the story is translated into modern day to try and place it in our minds as prevalent. The themes themselves are comments on gender inequality, patriarchy and injustice between women and men which is seen in today’s society, as much as it was in the 1600’s. This is effective in not placing the story in the past, allowing us to relate and to bring it to modern day. This is supported by the actors in football kit, beginning the show as we walk in with images of football hooligans projected onto the back wall and the continued inclusion of multi-media throughout. It is important that we don’t push the story into the past, making it seem like fiction or the past and not really a reality. However, the football aspect feels a small part of the overall story and a slightly disconnected element as the play unfolds. Perhaps it is there to remind us of how football has been historically male orientated from both players and fans but this loses its power during the production, in a good way, when it is replaced by much more.

Such a theme, on the outside, would seem intense. But there’s something special about this production when it’s actually very funny. Perhaps the content shouldn’t be so funny, but how the actors and the writing bring across these nuggets is so superb and does well to help build up the crescendo of the end of the play.

Multi-media is used effectively, to not only modernise the story, but to bring different levels and different and eerie elements to the production, with microphones and a live band, unique songs and soundscapes. The immense energy of the performers is powerful and energetic, making me wonder how exhausted they must be after each show. Their ability to change characters throughout, with only their skill and nothing more is extraordinary. At times, I wanted to pin point an actor for standing out particularly, but this was too hard. They all were monumental and brilliant in every role they took through sheer physicality.

Gunter makes so many poignant and important comments on past and presence differences between men and women and the injustices in this. A historical tale, centered in a time of witches and magic, which can still be translated to modern day, but with some comedy, some modernisms and an overall fantastic tour de force of theatre.

Newquay Zoo, Tempo Time Credits, Hannah Goslin

Thanks to our contributions to Get The Chance Wales, a long standing partnership with Tempo Time Credits rewards us for our volunteer contributions to the site. Tempo has a lot of unique and interesting offers, with these being exchanged for credits earned per review.

I have in the past used these to access entry to the Tower of London, Tower Bridge, trips on Uber Clipper Boats and I have donated these to others. Other offers during Covid existed such as subscriptions to Disney plus. The credits can be used across the country, for a range of activities from culture, to health and fitness to heritage and more.

An Easter weekend resulted in me spending time with my whole family, containing 4 children aged 11 to 3. Struggling to decide what to do with them, but being a 1 hour drive from Cornwall, I booked us into Newquay Zoo, as offered by Tempo. It was so easy and straight forward, and it allowed us a really lovely day in the chilly but lovely Easter sun. We saw a wealth of animals and read about the zoo’s contribution to conservation. Favourites of the kids ranged from Otters, Penguins and Lynx cats, while us adults loved Warty Pigs, Armadillos and Red Pandas. Delicious and affordable lunch was available, freshly made on site with fresh brewed coffee, and a mid visit ice cream and play in the playground nicely broke up the walk around and a outlet for the kids to expel their energy. The Easter weekend brought a treasure trail for the kids to spot eggs with letters around the zoo, resulting in an anagram we needed to decipher to win an Otter experience. Another very fun addition.

Booking was simple and easy and obtaining the tickets further at the zoo was simple and quick. We had a wonderful time and big thanks to Tempo for enabling us to do so!

Review: Marina Abramović: A Visual Biography & Institute Takeover, Queen Elizabeth Hall, Southbank Centre, By Hannah Goslin

 out of 5 stars (4 / 5)

Arguably, Marina Abramović is one of the most influential and incredible Performance Artists of all time. Her methods of challenging the body, of challenging the social norm, of breaking boundaries and being raw and in your face has transformed much of the performance landscape over the past 50 years and inspired many an artist, including myself.

Abramović is everywhere in London at the moment. Not only with her new book launch, A Visual Biography and her Institute Takeover, both at the Southbank Centre, she is also taking the Royal Academy by storm as the first solo woman performer in their main space and with an opera, 7 Deaths of Maria Callas at the English National Opera. For a woman who was literally on death’s door only a couple of months ago, at 76, Abramović is still pushing boundaries and her body to extremes for art. And us number one fans are happy she still is.

After her memoir in 2016, A Walk Through Walls, telling the story of her life in Belgrade and her art across the world, you wouldn’t think there was much more for her to tell us about. This raw and personal memoir seemed to feature it all, her life, her feelings, her failures, her successes. But in this new book, A Visual Biography, she has teamed up with arts and fiction writer, Katya Tylevich, to delve into her aeroplane hangers full of memorabilia of her life to bring new stories, new insights and plenty of memories.

With both Abramović and Tylevich on stage, this book release felt a lot more casual and free than I remember A Walk Through Walls launch to be. Abramović seemed relaxed, she made us laugh constantly and her stories and anecdotes were mesmerising. There was something changed in her, possibly with a near death experience recently, A Visual Biography seems more a celebration of who Marina is and less about how her work came to be. While her first memoir featured much about her family, she now tells us more of those moments you remember from your childhood. At the time, many seem like terrifying scenarios but certainly ones to be appreciated and laughed at now.

Abramović is hugely engaging and an hour and half did not seem enough to listen to her. She is captivating in her own right, without her magnificent art, with a life full of unique experiences and humbleness.

Following from this, Abramović and the Abramović Institute have taken over the Queen Elizabeth Hall, from front of house to the backstage and areas likely unseen by most of the public. Using the Abramović method, the artists are encouraged to present long duration work over several hours across a number of spaces, allowing the audience to self-lead their experience. Marina herself is not performing, but there’s enough essence of her in each performance to not feel at all cheated.

This was opening night and therefore, taking into account any problems with this. It seemed that much was delayed, from the opening of the venue itself to some of the works. Once you were in, you could see lots in the foyer but the knowledge there is more behind the scenes that you couldn’t quite yet access yet was tantalising but also confusing at times. Once everything opened up, the freedom to roam felt enjoyable and clear, with signs noting spaces and doors you couldn’t enter. It felt like a little treasure hunt throughout the building.

As time went by, the crowds increased and there were many smaller performances in tiny spaces that developed long queues. All performances are well worth the wait but you need to be prepared that some may need a wait. As they are durational, there are a number that change as time goes on, and so instead of doing a once round, always take the journey around a few times as it is ever changing.

Performances ranged from almost no movement, to abusive and loud anarchy, to continual movement pieces. There was something for everyone, including interaction from potato peeling to unusual yet childlike chats with a group of clones. Each art and artist has created something unique and perpetrating to their lives and what they wanted to convey and each was fascinating on their own and in comparison as you crossed from one to the other.

Audiences are almost forced in close quarters at times with one another, and there’s a almost meta sense of freedom to roam but at the same time, being confined closely with strangers. It is an extraordinary exhibition that we wouldn’t have dreamed of having in 2020 during a pandemic.

The sheer determination and strength of the performers, their bodies and concepts are incredible. Not one looked bored. Not one looked as if they were not fully in their space and performance. And this is what is awe inspiring and incredible. One performer spends the entire performance, melting a block of ice with their own bare body… when you think how you feel holding an ice cube for a short time, this on a larger scale without any break in character is impressive and thought provoking. Abramović notes in her book launch that a fit and almost dancer body is needed for her type of work – to sit still or move slowly/hold a position for a long time is actually painful and an experience little of us ever have or will have. We are used to moving when uncomfortable, but this is often not an option in these scenarios.

Marina Abramović Institute Takeover is an immersive, performance art exhibition and experience unlike any other. It is the height of contemporary art and each piece is unlike anything seen before. You may not be seeing Marina herself perform, but the heart of her influence and method is abundant in each performance, while leaving room for the artist to be their own.

Review: Dumbledore is SO Gay!, Southwark Playhouse, By Hannah Goslin

 out of 5 stars (4 / 5)

Throw me something Queer and Harry Potter related, and I am there. While walking into the room, I was already transported by the simple yet extravagantly painted room that crossed barriers of reality and magic.

Dumbledore is SO Gay! is a coming of age tale about Jack who struggles with his sexuality as a teen, his feelings and actions while figuring this out and the consequences of this. His love of Harry Potter allows him to travel in and change time to create a better and more inclusive world. His favourite character is Dumbledore, the only opening gay character and he feels affinity with him and his magical powers. But also questions, why is the only queer character killed off and is this a metaphor for life?

As a teen during the Harry Potter explosion of the noughties and a continued fan (I openly watch it on repeat most days of the week and Stephen Fry narrating it on audible is how I get to sleep), the references were specific, real and relatable. The love of Harry Potter was a real era for us and continues into our adulthood and the parry of this with the element of growing up and finding out who you are worked well. We certainly felt and went through this with the characters themselves during the Harry Potter years and so it reflects well on stage with Jack and his friends.

Jack continues as himself through the whole production and, as the main character, to see him change as a person is fascinating. Jack has the chance to change time, to tackle moments of homophobia to change the landscape, and how many of us have wanted to change the past? He grows with these changes and they change him, his opinion and confidence to protest and change the world.

The other characters are covered by two other cast members and both change voices, accents, personalities and physicality with complete smoothness that we believe they are different people. A moment where they break down the forth wall and become self aware when one actor has to revive two of her characters at once – the back and forth is its own comedy and her smooth transition it absolutely excellent.

The movement between scenes, through the time turning and that transition is so flawless. The actors are faultless. And the story and narrative is perfection. The only qualm would be references to queer culture that some may not know and maybe do not get the comical or emotional response that they deserve. But that would be the case for myself as a female, ally and undecided on my own labels. I understood many, from my ally-ship and friends but likely a lot were specific to queer, male culture in London. But this only meant that those who affiliate with that would have their own feelings of something more relatable to them.

Dumbledore is SO Gay! is relatable to many, specifically relatable to others, emotional, comical and over all fantastic. It is a show for any millennial, any queer person and anyone struggling with who they are. It is a triumph of a theatre production.

Review: Stark Bollock Naked, Larisa Faber, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

The age old pressure and discussions have been forever on women and the expectation to have children. But this isn’t for everyone and yet, this is still taboo in the 21st century.

Stark Bollock Naked addresses the pressures of age, society, other’s commentary on women’s bodies and the expectation to reproduce. It takes a look at this, at the viability and different situations and noting that it’s okay to not want that life, even after you thought you did once.

We are firstly confronted with a naked lady in front of us. The silence ensues and it needs to be congratulated that the performance starts ensuring that audience is awkward and uncomfortable, to make sure they take on the tricky subject.

The actual silence and pausing throughout is very powerful and at times comical and let’s us digest the relationship between the audience and performers. When the action begins, a really interesting projection is created, shown on the performer’s body and with an essence of stereotypical outfits of women as she monologues her story. This felt quite 1927 and the more hyper-realistic performances they create and was a really unusual and unique theatrical trick.

The narrative is comical, stating the facts and also very bold. There are comments on this person’s story, that are comments we, as women, are told not to say or think or feel. Stark Bollock Naked is throwing these into the ether and with no apology.

For me, it felt quite mismatched with what the performance wanted to achieve. It was really intriguing, performed extremely well and with a great concept and approach, but it felt a little like they weren’t entirely sure whether it was a comedy, an emotional production, a touch of clowning or avant garde. There’s nothing wrong with combining these but jumping from one to the other didn’t seem to sit well.

Stark Bollock Naked is exactly the theatre we need, where the unspoken rules around women are unleashed. However, more work is needed to combine the genres they are trying to touch upon.

Review: Unforgettable Girl, Elisabeth Gunawan/Created a Monster, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

We’ve all heard the stereotype of Asian women, mail order brides and all that comes with this. It becomes a joke within plays, movies and our society. But does anyone really think about the person behind this and what they go through.

Unforgettable Girl brings this stereotype to the forefront – comical and satirical, she embodies the Asian bride which is sexual, engaging and self aware. We see and hear her story, from her home to the call that changes everything. She also brings on the attitude and approach from middle class white society and the unforgivable but “nicely” put racism. It is throwing these unsaid issues in our face with no apology.

There is use of multimedia throughout which gives different levels between the performance and creating a hyper-version of reality. The stage and props are mostly made out of “trash” and is referred to, giving the sense of the little these women are thought of. Some slight comparison, while subtle, is made to white blonde barbie dolls, while a creepy voice over sexualises the mail bride over the phone. It is unsettling but powerful.

While the concept is really interesting and unapologetic, it felt slightly stunted between “scenes”. Perhaps there was a lot to change between characters and scenes and whether more physical theatre or theatrical techniques could be used to move between these, keeping the momentum and the dark atmosphere going.

Unforgettable Girl is anything but forgettable and a great concept, but still needs work to help it continue to grow.