(4 / 5)
“Director Kate Wasserberg masterfully merges the humorous with the harrowing in Theatr Clwyd’s current revival of Cartwright’s ‘The Rise and Fall of Little Voice.”
The script itself – scathingly raw and rife with a complex combination of dark humour and revolting sexual innuendoes, though nevertheless appealing and often rich with tenderness and sentimentality – is conveyed with tremendous sensitivity by each performer. So much so that each of the actors – all brilliant – all awe-inspiring, perform with such a natural truthfulness, that I remain wholly entranced by each throughout this production.
The set was intricate and intriguing – with the placement of LV’s personal space and the remainder of the house distinctly separate and isolated. Impressively, the mere house was swiftly transformed into a spectacular nightclub.
However, it is Nicola Reynold’s performance as Mari, which was, above all else, an afflicting depiction of vulgarity and vulnerability. Initially, I deplored Mari’s neglectful and resentful attitude towards her daughter, but her gradual deterioration and eventual breakdown left me empathetic and with an aching heart. Though, sometimes I felt her performance to be too intensely revolting.
The character of Billy, though perhaps not the most significant character of the play, this particular interpretation shines with an awkward charm and perfect like-ability.
Though, undoubtedly, it was Catrin Aaron’s LV, arguably echoing the brilliance of Jane Horrock’s earlier performance of the same character that demanded recognition for its exceptional, glorious splendour. Shifting effortlessly from meek to magnificent, with impersonations that could quite truly be mistaken for the voices of Garland, Monroe and Piaf.
The production plays until the end of October at Theatre Clwyd.
Category Archives: Theatre
Review Deathtrap, New Theatre, Cardiff by Jane Bissett.
DEATHTRAP
By Ira Levin
(2 / 5)
Deathtrap is the age old story of a man who wants more than he has and is prepared to go to any lengths to gain it.
The action takes place at the home of playwright Sidney Bruhl’s home that he shares with his wife of 11 years, Myra.
We see Sidney, a man who has not written a successful play for a number of years receives a manuscript from a aspiring young playwright. This is the opening of a plot that will change the course of the lives of Sidney and Myra in ways that we, the audience, will not have imagined.
The story covers four weeks in the life of Sidney Bruhl where he, Sidney, plans and plots to create a better life for himself at any cost.
The three main characters played by Paul Bradley (Sidney Bruhl), Jessie Wallace (Myra Bruhl) and Sam Phillips (Clifford Anderson), despite all being well known to us in former stage and television roles, were believable and I particularly liked Wallace’s portrayal of Myra Bruhl.
Despite not being familiar with the story and not having seen any other adaptation I didn’t find it as thrilling as I had anticipated. There were a lot of question marks about the relationships between the characters which were never addresses in either dialogue or behaviour except for the ending of act one. This isolated engagment between characters didn’t actually appear to have any relevance to the storyline and left the audience somewhat confused. Perhaps it was meant to shock? Either way it really didn’t work.
That said, the outstanding performance for me was Beverley Klein. She gave a wonderful performance as Helga ten Dorp, the Bruhl’s psychic neighbour. Her portrayal of ten Dorp single-handedly brought the thrills, drama and humour to the stage and was a delight to watch.
The set design worked well and the lighting created an atmosphere for day and night that worked particually well. The sound was spot on and certainly on cue for the moments we all jumped out of our seats! It would be unfair to elabarate further as it would certainly create a spoiler for anyone going to see the play.
Scene changes were prompted by the showing of vintage thrillers on screen in black and white which worked to great effect and enhanced the experience. The video design which was by Duncan McLean gave a sort of scrap book feel to the presentation and perhaps gave an insight to the mind of a thriller writer, their inspiration and method of work?
DEATHTRAP plays at Cardiff’s New Theatre from;
Tuesday 10 October – Saturday 14 October at 7.30pm
Wednesday, Thursday and Saturday Matinees at 2.30pm.
For further details or to book tickets call the Box Office on 02920878889.
An interview with Mathilde Lopéz, Artistic Director, August 012.
Mathilde with the Of Mice and Men Company. Photographic credit Studio Cano.
The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to with Mathilde Lopéz, Artistic Director, August 012. We discussed her career to date, her new production Of Mice and Men at Chapter Arts Centre this October and her thoughts on theatre in Wales today.
Hi Mathilde great to meet you, can you give our readers some background information on yourself please?
Hi, I am a theatre director and the artistic director of August 012. I was a founding member of National Theatre Wales, used to be Literary manager at Theatre Royal Stratford East and before directing, I worked as a scenographer. I trained at Central St Martins and Birkbeck College. I am French, I am of Spanish origin and grew up in Morrocco and the West Indies.
So what got you interested in theatre and the arts?
Drawing, painting and sculpting were first, then theatre happened. I don’t remember a particular moment so I either forgot or it was always there.
August 012 Yuri, Credit Studio Cano.
Your company August 012 describes itself as “developed, shaped and questioned by the way we live here and now, and therefore profoundly and structurally relevant to the nation today.” Is it possible to explain how you approach this methodology when creating work for the stage?
I am interested in how we live today and where we make the work. Everything I do is profoundly anchored in our times, our current technical equipment, our politics and the space and people we make it with. I often work with new participants along with trained actors and set tangible challenges- either through space or casting- in the rehearsal room so that we all wrestle not only with the ideas of the play today, but its embodiment.
August 012 Caligula, Credit Studio Cano
In October, August 012 is performing Of Mice and Men by John Steinbeck at Chapter Arts Centre. I wonder if you can discuss why you choose to direct this play?
I love Steinbeck. Particularly Tortilla Flat and Cannery Row. I read them in a loop for a couple of years when I was a teenager. In French and in Casablanca and it felt very close, I sometimes think that the combination of poverty with the sea and the sun-like Steinbeck Californian characters- must have had something to do with it. I also read Of Mice and Men which felt then and still feels now, like the essence of the United States of America in all its grandeur and catastrophe. Ultimately, I always wanted to do Steinbeck, and I might carry on, his novels are so generous and compassionate that they do help to breath.
Wil Young who will play the role of Lennie
The role of Lennie will be performed by Wil Young. Wil is a company member from Hijinx North Academy, one of 5 Academies in Wales that trains learning disabled and/or autistic adults to become professional actors. Hijinx have pioneered supporting the work of disabled and/or autistic actors on our stages, how did this new collaboration develop?
I’ve reread the novel trying to establish a contemporary view on Lennie’s character with Cardiff School of Psychology researchers. We concluded that Lennie would potentially be on the autism spectrum and it felt right to work with an actor who would understand and confront himself with these difficulties on a daily basis. We contacted Hijinx for advice and they quickly became collaborators. They were thrilled by the idea of casting one of their actor in a main role and were very helpful and supportive.
Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists/creatives?
I am aware that you only realise that there are barriers when you are different yourself or know and share time with people who are. August 012 tries to minimise barriers in the way we make and produce theatre like many companies do –I see more and more theatre companies that invest in making work accessible-but I am sure we could all do more and are largely unaware. What has become apparent and is now crucial is that we keep organising regular opportunities for consultation with people with different disabilities, from varied age groups and from different social backgrounds. This is the only way to get things right.
Mathilde with the Of Mice and Men company, credit Studio Cano.
There are a range of organisation supporting Welsh and Wales based theatre companies, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
There are not enough opportunities in theatre in Wales but I think it is steadily growing.
I wish more was done towards creating bridges with international festivals and networks in the European Union and elsewhere, most of the efforts in Wales are UK centric (or London and Edinburgh centric) and I believe artists and cultural organisations ought to reach out particularly in the current political climate.
If you were able to fund an area of the arts in Wales what would this be and why?
Fine Arts and Music. Because I think they inspire all the rest. Fine Arts definitely inspires me to create theatre. Always. I am not sure about the contrary.
Bedwyr Williams, Artes Mundi 2017
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
Some companies and artists in Wales embrace their cultural difference and celebrate their particularity which goes well beyond language and I like that freedom. There’s a lot of freedom in theatre making here and cross arts form widely happened in Wales before it was even a term! So I enjoy the work that manages to connect this specific originality with the world, like Bedwyr Williams piece for Artes Mundi 2017 or in a different vein, the choir in WNO’s Khovanshchina.
Many thanks for your time Mathilde.
An interview with actor Wil Young
Wil in rehearsals for Of Mice and Men
The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to actor Wil Young. We discussed his career to date, his work with Hijinx Theatre, his role in a new production Of Mice and Men produced by August 012 and his thoughts on theatre in Wales today.
Hi Wil great to meet you, can you give our readers some background information on yourself please?
“Hi my name is Wil Young. I am 26 years old. I am based in Holyhead, North Wales. I’m a professional actor with autism. Through Hijinx Academy I have received professional training in acting, singing, dancing and mask work. My professional experience includes ‘Soup’ for the Hijinx Unity Festival. I can travel independently. I can learn and memorise scripts. I particularly enjoy my comedy acting.”
A performance of ‘Soup’ for Hijinx Unity Theatre Festival.
So what got you interested in theatre and the arts?
I’ve worked with Tim Baker on two productions. I’ve been with Hijinx for 3 years. I’ve been acting, if you can call it that, pretty much since I can remember.
Wil in rehearsals for Of Mice and Men
You are a member of Hijinx North Academy, one of 5 Academies in Wales. What activities do you get involved with in the Academy?
I do drama on Monday & Tuesday. I’ve done Unity in Cardiff & Caernarfon. The performances included ‘Soup’ which is a silent piece and ‘The Market’
You are playing the role of Lennie in Of Mice and Men by John Steinbeck, produced by August 012 at Chapter Arts Centre during October. Can you tell us how you came to be involved in this production?
I actually heard through Hijinx that they were auditioning for the part of Lenny and I tried out.
Wil in rehearsals for Of Mice and Men
Lennie is a very famous fictional character, Of Mice and Men is a set reading text at many schools across the world. How are you going to approach your portrayal of this character?
He’s basically like a big kid, so I thought of playing him younger than I would normally.
If you were able to fund an area of the arts in Wales what would this be and why?
I would invest in the Ucheldre Centre in North Wales, because it would also bring money to the island and the arts.
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
There’s plenty of choice in Wales in terms of theatre. I recently saw the first Columbian Circus to be shown in Pontio, Bangor, North Wales. This was called Acelere by Circolombia.
Thanks for your time Wil.
Review Rip it Up, St David’s Hall by Barbara Hughes Moore
Dreamboats and Petticoats: Strictly stars tear up the dancefloor in Rip It Up
Having attended a fair few live shows featuring the Strictly cast, I can safely say that Rip it Up ranks among the best of them. Inventive, energetic and invigorating, Rip it Up was created, crafted and choreographed by fan favourite Strictly pro Natalie Lowe. Having recently left BBC’s flagship dance show after seven years (to the distress of many SCD fans, myself included), Natalie has shifted her considerable skill towards the theatre, being both the brains and brawn behind this 1950s-set dance spectacular. Joining her on tour are Strictly champions Jay McGuiness and Louis Smith, who lifted the glitterball with Aliona Vilani in 2015 and Flavia Cacace in 2012 respectively.
Directed by Gareth Walker, Rip it Up (named for one of the 50s songs it incorporates) follows the three principals and a slew of equally brilliant backing dancers as they shake, rattle and roll their way through some of the decade’s greatest songs – moving with ease from Elvis to Little Richard to Sam Cooke and Ritchie Valens. I’d forgotten how good these songs were, and how fabulous they are to dance to – but the considerable, combined talents of the Rip it Up ensemble brought it all back to me.
The show was split into different segments, each encapsulating a different type or trend of 50s music: rock ‘n’ roll, vocal harmony, blues, ballads, and Latin, as well as specific tributes to Buddy Holly, Elvis Presley, Little Richard and the Rat Pack. It was exhausting enough reading through the setlist, let alone watching the dancers perform to them! Natalie described the ensemble as the hardest working out there, and I certainly agree. Nothing was spared or suppressed – hearts and souls were bared on the dancefloor that night, and the audience was loving every second.
It was particularly gratifying to be a part of an audience that was as responsive to the show as I was – so often in modern theatre audience reaction is muted and formal, but just as the performers were giving every drop of energy and enthusiasm they had, so too were the people watching from their seats. Jay kindly acknowledged the audience response, thanking us for ‘making Monday night feel like Saturday night’. Well, Jay and the rest of the cast certainly made a rainy night in 2017 Cardiff feel like a summer’s day in 1955 NYC.
To enhance the feel of the time period, there was a brief TV montage interlude between each dance segment, showcasing some of the 50s’ cringiest commercials – including a toy advert for a truly bizarre sort of hula-hoop worn on the head called a ‘Swing Wing’, which was no doubt responsible for causing widespread whiplash during the decade. These were intercut with the ensemble’s pre-filmed cutesy interpretations of the era, as well as entertaining asides from the master of ceremonies, Leo Green, who also doubled as band leader and saxophonist.
Speaking of the music, the classic 50s hits were played with emotion and aplomb by a five-piece band, and what a joyful noise they made with so few. Along with Leo’s superb sax, we were treated to Ed Richardson on drums, Ian Jennings on bass, Jonny Dyke on keyboards and Matt White on guitars. I can’t stress how excellent the musicians were, including the two primary singers of the piece: Oliver Darling (who sported Buddy Holly glasses during his tribute) and Jill Marie Cooper, an exclusive treat for Cardiff audiences. They not only captured the spirit of the songs, but of the generation – although at times, they did tend to belt ballads that could have done with a softer touch. A small price to pay for the marvellous music overall – I would happily have paid to see the musicians and singers alone, but here they enhanced and accentuated the equally wonderful work of the dynamic dancers.
Natalie Lowe embodied the charm and elegance of the era, seamlessly slipping from Grace Kelly-esque screen siren to Elvis-like leather-clad rock ‘n’ roller, and countless other characters in between. She utterly evoked the ingenue of her introductory song, Jackie Wilson’s Reet Petite (‘the finest girl you ever want to meet’). Her standout number was a beautiful ballroom show-dance to the Righteous Brothers’ Unchained Melody, as well as a cheeky jive to a medley of 50s jitterbug. Not to mention she was responsible for overseeing and choreographing everyone else, and ensuring that every part had a unique and different feel, facet and flair. Her exit is a loss to Strictly, but a magnificent gain for the stage, and I can’t wait to see what she has waiting in store for us next.
Supporting our superb leading lady were two highly capable, and yet incredibly different, leading men: Jay McGuinness, whose unique brand of cool, chivalrous charm embodied the era’s sweetness simmering beneath the surface; and Louis Smith, whose fiercely flirtatious brand of fun complemented Jay extremely well. They couldn’t be less alike, except in their attempts to vie for Natalie’s affections, alternately foxtrotting and jiving their way into her heart. For two Strictly champions who had both been unfairly criticised by the judges for their supposed lack of personality during their tenure, it was particularly satisfying to see Jay and Louis not only having improved since their deserved wins, but infusing their routines with so much character, confidence and flair. They fit in perfectly alongside the pros, and skilfully held their own alongside them.
Jay’s entrance was the most impressive by far. Clad in black from head to toe, he spun around in the shadows and de-hatted himself, giving the impression that he had appeared out of thin air. He certainly encapsulated the gung-ho gusto of his intro song, Jerry Lee Lewis’ Great Balls of Fire. He also demonstrated a wide range of theme, technique and emotion (as he had done on Strictly), performing with passion and panache in every style of dance from waltz to cha cha and an artsy modern number to Nat King Cole’s Unforgettable that evoked his winning show-dance. And, of course, his jive prowess were second to none, as it has been ever since he and Aliona’s Pulp Fiction tribute broke the internet. Jay didn’t just shine whilst dancing; he also graced us with lovely renditions of some of the staple songs of the 50s, including the incomparably classy Beyond the Sea and a sultry rendition of Sway. Out of all the Strictly champions, Jay has the greatest potential to take the West End by storm – singing, dancing, acting, what can’t he do? I hope his recent stint as the lead in Big! The Musical is the first of many in a long line of stage shows in Jay’s future.
Louis, last but certainly not least, leapt onto the stage to Little Richard’s Tutti Frutti; from start to finish he looked like he was having the most fun by far – and that’s really saying something in an altogether joyous production. Although Louis performed in Strictly alum Robin Windsor’s Keep Dancing tour at Cardiff’s New Theatre last year, and has improved even since through joining Rip it Up, he confessed he hadn’t been sure if he could or should carry on dancing in live productions. But after a great experience with Natalie, Jay and the gang (and some vehement audience encouragement), it (thankfully) looks as though Louis isn’t going to hang up his dancing shoes any time soon. He looked as though he lived every moment of every dance, and possessed the most vibrant personality and stage presence of the entire ensemble. His gymnastics skills always shone during his Strictly stint, but here he has honed his dance technique and performance into sophisticated and stylish perfection. He excelled in solo, partner and group dances, really capturing the mischievous, rebellious feel of the era and starring in some of the strongest set-pieces: a sulky, sultry number to Peggy Lee’s Fever was a particular highlight, as well as a geeky romance against the backdrop of Sam Cooke’s Wonderful World. Louis’ Strictly journey keeps evolving, and long may it continue – Cardiff will certainly be there to welcome him back to the stage in the future.
If ever a stage show was an ensemble success, that show is Rip it Up. Every single backing dancer performed to the same superb standard as the principals and musicians, and were given ample time to shine both alongside and separate from the three leads, yet another testament to the team spirit of the entire production. Though the set itself was sparse, the performers and costumes made up for the minimal production values (totally understandable on a tour budget). However, despite how impressive the three leads’ solo numbers were, I would have loved to have seen the three of them sharing the stage more often. Natalie, Louis and Jay appeared together to bookend each segment, but then split up to perform numbers in which they individually featured (accompanied by partners or backing dancers), but rarely with one another. Because of the rarity of their onstage collaboration, one of the standout numbers for me was Jay and Louis engaging in what I can only refer to as a ‘James Dean-Off’ in which the two Strictly champs did their damned-est to out-Brando each other in rolled-up jeans and white Ts. In a similar vein, I think there should have been a story running through the show (just as Vincent and Flavia often have in their live shows); in doing so, they could build on the natural flirtation between Natalie, Jay and Louis, and incorporate their love triangle into a more structured through-line. It would have added a narrative cohesion to the excellent dance numbers, rendering them not only exciting but necessary in advancing the plot and our leads’ love lives.
Overall, Rip it Up is a truly wonderful theatrical experience that I urge anyone with even the vaguest interest in dance, music, theatre, The Wanted or gymnastics to go to if humanly possible. It’s great to see familiar faces again, as well as discovering new ones, and I can’t wait to see where Natalie, Jay, Louis and company go from here – I only hope that they keeeep dancing
http://www.stdavidshallcardiff.co.uk/whats-on/dance/rip-it-up/
Review One Man, Two Guvnors, Black RAT Productions by Helen Joy
A slapsticky ribtickling romp through Mr Bean’s homage to the Italian original.
I love this theatre company. They make me laugh. Properly head back gasping for breath laugh. This multi talented bunch of actors and their production team are properly good.
I love the venue. I love the welcome. The busyness of the place. The swirly carpets and the polished wood and the atmosphere of years of local folk heading here for a night out. Marvellous.
And marvellous to take a glass of wine into the theatre and settle into your seat whilst the cast play their way through a series of ‘60s songs, washboard ‘n’ all. A band which reforms for set changes – how delightful, how clever to keep us all singing and clapping along.
Never afraid to look you in the eye, to include you in the action, to keep you alive with the threat of putting you too on the stage, it’s bright and buzzing throughout.
And the lead, Francis Henshall, is, quite frankly, fabulous! A tweedy oaf with a lust for food and a hunger for love, he draws us in, right in.
But he wouldn’t be half so good without his sidekicks.
Every character is perfectly overblown and overplayed. Exaggerated, exaggerating, they are funny and likeable and strangely believable. All very special in their own sweet Brighton rock kinda way.
Every seat is filled. Everyone is laughing. Everyone is having a very good time.
There is an energy to this production which drives through to the end.
Nothing unpredictable, nothing too challenging but what a wonderful slapsticking backslapping suitcase swapping utterly joyous night out!
Black Rat Productions is an extraordinarily talented company. There to be enjoyed.
One Man, Two Guvnors is a play by Richard Bean, an English adaptation of Servant of Two Masters (Italian: Il servitore di due padroni), a 1743 Commedia dell’arte style comedy play by the Italian playwright Carlo Goldoni.
Helen Joy for Get the Chance, 3rd Act Critics.
A Black RAT Productions, Blackwood Miners’ Institute and RCT Theatres co-production supported by Arts Council Wales
Cast
Gareth John Bale … FRANCIS HENSHALL
Lee Gilbert … HARRY DANGLE
Phylip Harries … CHARLIE CLENCH
Sarah-Jayne Hopkins … DOLLY
James Lawrence … STANLEY STUBBERS
Daniel Miles … ALAN DANGLE
Caryl Morgan … RACHEL CRABBE
Alice Strachan … PAULINE CLENCH
Chris Tummings … LLOYD BOATENG
Production Team
By Richard Bean
Based on The Servant of Two Masters by Carlo Goldoni
With songs by Grant Olding
Directed by Richard Tunley
Designed by Anna Marie Hainsworth
Production Manager / Lighting Design Robin Bainbridge
Stage Manager Claire Roberts
Musical Director Rob Thorne
Review American Assassin by Jonathan Evans
(1 / 5)
“Women in Refrigerators” is a terms that started in 1999, created by now famed comic writer Gail Simone. It was a response to an issue of Green Lantern where he comes home and finds his girlfriend has been murdered and stuffed into his fridge, this ignites a revenge story-line. The term means that women are killed, harmed and/or depowered simply for plot reasons. Why do I bring this up? Because this is the mentality of this entire movie. In-fact not just at the start, but another time near the end is a female character (this one serving little to no purpose) is killed off mercilessly with not a care or regret.
Our main character is a young man named Rapp (Dylan O’Brien) that has suffered the loss of the woman he just proposed to. Now that she was tragically gunned down he has resigned himself to hunting down terrorist, training himself day and night and having very little restraint when things become physical. This man is clearly unhinged and apparently that’s just when the C.I.A. want because they recruit him.
Michael Keaton is brought in as the rugged trainer that’s seen it all and knows it all. His talents as an actor are wasted in this movie and belong in a better one. I cant say whats worse, having a fine actor be in a bad movie and give a bad performance, or in a bad movie and have the energy of a good performance wasted. I don’t know, either way is upsetting.
Further adding to the despicable makeup of the movie is its one-sided view of non-white, non-christian Americans. If you are not white then you are the bad guy and a scumbag (that word is used directly by our main character). The main antagonist is white however he has some layers to him, the other enemies that are non-white are bad through and through.
I cant tell you what the message of the movie is. Revenge is good? Revenge leaves you empty? Follow orders? Don’t follow orders and be your own man? But it doesn’t matter what it’s about because it’s foundation is an outdated, misogynistic plot setup and from there on it fans the narrow-minded drive about how to handle terror threats. Good performances cannot help sweeten this rotten meal of a movie.
Review Uncle Vanya, Theatr Clwyd by Donna Poynton
Uncle Vanya was first published in 1897 and had its premiere in Moscow in 1899, performed by the Moscow Art Theatre under the direction of Konstantin Stanislavski.
The play focuses on the visit of an elderly professor and his young wife Elena to the rural estate which supports their city dwelling lifestyle. Two friends, Vanya-the brother of the professor’s late first wife and the controller of the estate and Astrov-the local doctor, both end up falling for the charms of Elena. Sonya, the professor’s daughter by his first wife, is hopelessly in love with the doctor but her feelings are unmatched. Tempers flare and drama ensues as the professor announces his plans to sell the estate allowing Vanya to spiral into a madness offering tormented bawling and even a gunfight!
This new production written by Peter Gill and directed by Tamara Harvey of Chekhov’s doom-tinged comedy is set in the round, allowing for the feeling of immersion as an audience member, particularly during each characters’ soliloquy. We feel we are let in on the action, surrounding the players; close emotionally as well as physically. Each scene cleverly switches from outside to in and we are treated to some glorious pieces of silent acting as the characters themselves subtly manoeuvre the set to allow transitions (for example we hear claps of thunder and rainfall and a handful of actors swiftly grab chairs and rugs to ‘save them from getting wet’). The design of the piece, in this way, is very simple and yet we could look so much further into its meaning. Throughout the entire production there is an overhanging tree which could have been placed simply to remind us where we are. Could it, on the other hand, be symbolic of the overhanging, inevitable destruction in the piece?
The destruction of man and oneself is reflected in the frequent discussions of the desolation of the Earth’s forests. We cannot fail to spot the implications that humankind may not be KIND at all and that the dissatisfaction in our lives comes not only from ones own failings but from the failings of others to encourage success and happiness. We see love in all forms; love for family (as much as we may often speak ill of them or even wish then ill!), the love of nature, love of home, romantic love and even love unrequited but it appears that love brings with it sadness, frustration, sorrow and even utter despair!
Despite this, the play provides many moments of humour-mainly gleaned from the excellent characterisation of the title character by Jamie Ballard who portrays Vanya with just the right amount of comedy and tragic poise. This production has been cast superbly but special mention must also go to Rosie Sheehy as Sonya who plays the innocence and the pain of unreturned love beautifully, to Shanaya Rafaat as Elena who we are able to empathise with despite her somewhat ignorant demeanour and Oliver Dimsdale as Astrov who is both physically and mentally handsome-the stage often brought to life with each appearance.
This production of Uncle Vanya allows the stunning properties of Chekhov’s text to be fully appreciated as part of an up to date design. Despite it keeping its original 1890s setting we are able to relate the themes of the piece to our modern lives.
Review This Evil Thing, Sherman Theatre by Roger Barrington
(4 / 5)
This didactic play tackles the controversial subject of conscientious objectors during World War One.
Conscientious objectors, or CO’s as the play’s devisor Michael Mears refer to them are those people who for various reasons refuse to fight or even engage in any activity that contributes to the promotion of warfare. These reasons may be religious, political or idealistic or a combination of more than one of these factors.
The most prominent character portrayed in the play is a man named Bert Brocklesby who was born and brought up near Doncaster as a Methodist but who had also interests in the Quaker and Baptist church movements. In fact, he eventually became a Quaker who are the religious group mostly closely associated with Conscientious objecting.
It is not the first recent play that focusses upon the CO’s during WW1. Both of these play examine CO’s within a regional basis, in contrast to “This Evil Thing” that examines a national set of affairs. In “Devils on Horseback”, a 2017 production by Goldsmith College, the trials of CO’s in Deptford are shown, based upon research of historians at the College. “England Arise” by Bent Architect portrays the activities of CO’s in Huddersfield. In fact, Yorkshire was a hotbed of co activity during WW1. This play has been criticised as feeling a little overlong, albeit the running time at 75 minutes is the same as the play under review here.
Positioning myself at the end of a crescent shaped set of rows at the Sherman Studio Theatre, I was easily able to notice my fellow audience member’s level of attention, for a play that demands it, and I am impressed by how riveted they were, which is testament to the engaging nature of this play. Mr Mears, at the end of the performance complimented the audience on their level of attention.
Michael Mears is a well-known and award-winning figure on the Fringe Theatre circuit for largely his one-man plays which he both writes and acts in. “Soup” another one-man play has won the Scotsman Fringe Award” which examines homelessness.
“This Evil Thing” was first performed at the Edinburgh Festival in 2016, and was well received.
“A thorough and at times gripping account of an important subject.”
4 out of 5 stars – The Scotsman
“Mears is an animated and engaging presence throughout, his faithful delivery of others’ words accommodating many a naturalistic flourish. Entertaining as his show may be, his gratitude and outrage remain very much to the fore. This is important, vital polemic.”
4 Stars out of 4 Fest (Edinburgh Festival magazine)
In an interview for the Stratford-upon Avon Herald in January this year, Mr. Meyers was asked the question how he would describe this play.
He replied, “It’s the compelling and rather shocking, and also inspiring, story of the First World War conscientious objectors (CO’s) in Britain, which has rarely been told or even talked about. In this period of commemoration of the war there’s a lot of focus on the battles, but I knew there would be plenty of material on that and wanted to write about something else. My grandfather fought in the First World War and my father in the Second but I don’t seemed to have inherited the genes, I’m a pacifist — so it seemed appropriate to focus on that. The full interview can be found here.
I would entirely agree with this.
Image Simon Richardson
The design of the production is sparse in the extreme. Nine wooden boxes of different sizes, a wooden post and a bag amount to the set’s design. This minimalist approach works well, as due to the play’s physical nature, it allows Mr. Meyers to energetically move around the set. The boxes are used very creatively. For instance, they transform into a lectern, stretcher, bed, window, bench, representations of human figures in a military tribunal, coffin and even simulating gunfire by their sudden collapsing.
Image Simon Richardson
The play opens with a very effective use of lighting depicting a CO who was being punished by having to stand upon a box for hours upon end in a pit which has water lying at the bottom. The box protecting the prisoner from having to stand in the water. The only lighting on a totally dark stage coming from directly above. The play ends with the same scene. This very symbolic use of darkness and light can be interpreted in different ways which are not difficult to work out.
Over the course of the play’s seventy-five minutes, Mr. Meyers plays over fifty characters. An impressive feat, and I wonder whether the performer ever lapses into using the wrong voice, e.g, whilst playing a sergeant-major he slips into using a plummy public accent typical of a British army officer. His use of so many diverse voices and accents is one of the highlights of the play, as this compilation of scenes taken from the play illustrates.
The sentiment of the play is totally one-sided. Mr. Meyers is a committed pacifist and in a way, the play suffers from this one-dimensional view.
This is clearly depicted in the promotional flyer and poster.
The eponymous poster of Lord Kitchener pointing his figure towards all men able to fight, “Britons Wants You”, is mutilated by the red-cross, (symbolising blood), which intersect over the mouth, thereby gagging the message.
In a post-performance forum, I asked whether Mr. Meyers accepted that being a CO was essentially a selfish act. Naturally, he disagreed and the discussion was somewhat diverted into a matter of courage rather than the question I posed. My reason for implying this statement is that the CO’s were buoyed by their own strength of conviction, whereas his family were usually ostracised for his refusal to fight, with an inevitable implication of cowardice being the motivating factor. Contrast this to Junior Officers who suffered the highest casualty levels in WW1 over the men they led and their senior officers who were often protected well being the Front Line. Posing the question why these officers were prepared to die with almost an submissive inevitably, I suggested that largely it was due to protecting the family honour, thereby sacrificing themselves to protect the humiliation of cowardice from their loved ones.
Also, a scene where Bert Brocklesby refuses to peel potatoes because he was helping to prepare a meal for officers and men, on the basis that he would not help in any way the progress of war, I found to be trivial. However, I would concede that Mr Mears is only portraying the facts of a real life character, and others such as the eminent philosopher and later CND co-founder Bertrand Russell and Prime Minister H. H. Asquith also feature.
Mr. Mears is an engaging figure, both on and off stage. He is clearly fired up by the message he is bringing and totally committed to it. An interesting character in his own right, he is an active long-distance walker, which would aid his fitness level essential to his own brand of physical theatre.
This message is a worthy one. As to its relevance today is another matter. I cannot foresee, due to the technical advance of weaponry, a situation where conscription will ever be re-introduced. In today’s world, blessed by 75 years of involvement in international conflict on a national level, our attitudes towards CO’s has softened. The play reminds us that these men possessed a different type of bravery in swimming against the tide, and should be remembered with compassion and understanding for doing that.
On the performance I attended, the 100 seater theatre was just over half full. This is a sad reflection on the demands of theatregoers today. Many, it seems, see the role of theatre to be solely based upon entertainment factors, thereby omitting an essential aspect of theatre which should be to educate. The concentration ability in today’s world would appear to have been irreversibly damaged through instant revelation provided through technology. I compare it to 20-20 cricket as compared to a test match. Although, I will happily concede that there is a place for both, I fear that the relentless march of entertainment musicals, (whilst acknowledging their financial input often sponsors drama), may mean such important plays such as “This Evil Thing” will become a rarity.
Sherman Theatre is the opening venue of a two month tour which returns to Wales on :-
11th November 2017 Galeri Theatre, Caernarfon
24th November 2017 Aberystwyth Arts Centre
Full dates can be found here
“This Evil Thing” performed and revised by Michael Mears.
Directed by Rosamunde Hutt
Performed at Sherman Studio Theatre Cardiff 25th and 26th September 2017
Review, Uncle Vanya, Theatr Clwyd by Gareth Williams
(4 / 5)
Prepare yourself for an immersive experience in the Emlyn Williams Theatre as Uncle Vanya kicks off Theatr Clwyd’s Autumn season. Having experienced the wonderful space known as the Roundabout Theatre earlier in the summer, it was a pleasant surprise to walk into something very similar here. However, whereas the Roundabout relied simply on the cast and audience imagination, the design wizards at Theatr Clwyd, led by Lucy Osbourne, have produced some spectacular scenery, enhancing the audience experience further. Walking in through the entrance, it is like Alice Through the Looking Glass. You are stepping into another world, almost literally, as you make your way across the fairly detailed set to your seat, a magnificent tree branch overarching through the roof above. It really is something to behold. The atmosphere before curtain up only added to the anticipation. There was a certain buzz around the place. Like never before have I known this place to feel so alive.
I believe that director Tamara Harvey has made a very inspired decision in performing Uncle Vanya ‘in the round’. Throughout the play, the close proximity to the audience of the actors made for an intensity of drama and emotion that would not have been so keenly felt in a proscenium. It was, in some ways, a unique experience to witness the faces of these characters so closely and to see their emotions clearly. Even now, a day later, as I am writing this, I can’t believe that my memory is able to evoke Oliver Dinsdale (Astrov) in such detailed fashion. Was he really that close to me? Yes, and what a difference that familiarity makes, not only in the moment but in the recollection too.
It truly is an evocative experience. Being ‘in the round’ helps enormously to achieve this, but it is also enhanced in a number of ways. Firstly, the costumes are of such fine and exquisite detail, perfectly suited to the period in which Vanya is set. The props only compliment this further, to the extent that it often feels like you are watching through a lens, filming, with your own eyes, a television drama. The most beautiful piece on display is the map that Astrov (Dinsdale) rolls out across the dining room table. Its colours are so striking, so meticulously drawn, the sense of realism is startling. Osbourne and her team deserve a standing ovation for their work, never mind a round of applause.
This magnificent set would be nothing though without a group of actors to bring it to life. Leading the cast is Jamie Ballard as the depressed and downtrodden, yet very humorous, Vanya. Ballard injects much regret into his character that teases itself out in playful pessimism and childish boredom. It is so easy to fall for him as a character. His well-thought out arguments, witticisms and acute personal observations make him a very likable person. Ballard reminds me very much of Tom Hollander in the way that he fully embodies his character. He is not just playing Vanya here. He is Vanya. Whereas some productions would struggle to fill the void left by such a fine performance onstage, there is no danger of that here. When Ballard is absent, it is not particularly noticeable. This is testament not only to the quality of Peter Gill’s script, but to the supporting cast as well. In particular, I would like to pick out Rosie Sheehy whose performance, as Sonja, was achingly beautiful. You could not only see the unhappiness etched on her face, it was possible to feel it too such was the intensity of her presentation. To communicate so affectingly reveals the strength of her acting skill. She was simply superb.
Uncle Vanya has certainly left its mark on me. It is an experience that will stay with me for a while yet, I’m sure. It shows that this production is an affecting piece of theatre, and its immersive set and talented cast only serve to make it so. Tamara Harvey has delivered on many levels, taking Anton Chekhov’s original work and producing something fresh that does not feel over a century old. She has also helped cement ‘in the round’ as my preferred style for performance theatre. Uncle Vanya is definitely worth checking out.
https://www.theatrclwyd.com/en/whats-on/uncle-vanya/