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Theatre

REVIEW: AMERICAN NIGHTMARE BY MATTHEW BULGO AT THE OTHER ROOM BY GARETH FORD-ELLIOTT

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out of 5 stars (3 / 5)

Opening The Other Room’s The Violence Series autumn season is Matthew Bulgo’s American Nightmare. Bulgo’s third play with Cardiff’s pub theatre, this rendition tackles class and the flaws in the reality of the ‘American Dream’.

American Nightmare follows two pairs of very different kinds of people. The elite class, represented by Clara (Ruth Ollman) and Greg (Chris Gordon) plotting a new scheme to control and exploit the working and under classes, which are represented by Daria (Lowri Izzard) and Elwood (Gwydion Rhys).

Clara and Greg sit, drinking and dining in a New York skyscraper as Clara entices Greg with an extremely lucrative business proposal that will change the landscape of America both physically and culturally.

Meanwhile, in a bunker somewhere in America, Daria and Elwood are taking part in a programme that aims to produce a set of obedient, low incentive driven workers under the orders from a character named ‘The Program’.

The writing from Matthew Bulgo is perfectly good for the most part. Clara and Greg are a little too prominent and really it’s mostly unnecessary in the grand scheme of things. The characters exist mainly to provide context rather than any real drama or story within itself. Context that could be more creatively explained and unravelled in a less predictive manner.

The story mainly comes from Daria and Ellwood, this is where we get tension and see in depth, complex characters. Daria’s story arch is brilliant and everything she does makes complete sense in the context of the play. Every move is calculated perfectly from Bulgo.

Ellwood is a well written, realistic character for who you feel both sympathy and frustration. He has his ideas of how the world is and is firm in being resilient in the face of it, but at his heart just wants to get away from it all and live off the land.

The direction from Sara Lloyd is understated. Lloyd expertly controls the manipulation and psychology between the two sets of characters that drives the drama and tension of the play. This is American Nightmare’s real strength and Lloyd makes the most of it.

Lloyd is accompanied by an excellent production team with Delyth Evans’ set in particular standing out. The highlight of which is a pair of sliding doors that part to unveil the elite and close to lock the poor in to the bunker.

Katy Morison’s lighting is simple, yet effective, working in conjuncture with Simon Clode’s videography that transitions the scenes. Tic Ashfield’s sound design doing its bit which blends nicely without invading the rest of the production.

Lowri Izzard is fantastic, perfectly displaying Daria’s journey and ulterior motives subtly throughout the play with the use of body movements and tone.

Gwydion Rhys is completely believable if not only for a poor Southern accent. His facial expressions are great as he transforms into Elwood. His descent is a shining light of the play and Rhys is a huge reason for this.

It’s hard to criticise Ruth Ollman and Chris Gordon but also hard to take too much from their performances. They have good chemistry and do their job well, but their characters don’t have much depth to delve into.

The main downer on the acting is Richard Harrington as ‘The Program’ who appears via video. As an authority figure with no remorse, he feels quite soft and unbelievable in the role.

There is one issue that should not go unspoken in criticism of the play.

To ignore race is a complete whitewashing of the issue of class in America. They are intrinsically linked and whilst a white writer may not feel it appropriate to pass comment the play is much weaker for overlooking this gaping hole in its content.

This is a play set in a dystopian America – but what is written in fiction only holds worth when considered in the context of it relates to real life. It is impossible to talk about poverty, class and the American Dream in America without speaking about race if you want to speak with true credibility.

Ignoring race is potentially problematic considering what is suggested in this play has literally happened and continues to happen to people of colour in the USA. This is reality for some, this is what is happening.

The play is exaggerated reality, yes. But all this play does is exaggerate the realities of people of colour in America with a white face. If accidental a huge stroke of misfortune. If intentionally ignoring the race aspect to poverty and class in the USA, problematic.

The excuse of “that’s not what the play is about” isn’t valid here. The writer simply must tackle it to some extent. This is a whitewashing of the issue it deals with and the play is weaker for it.

Not to take away from what is there which is technically good writing, excellent production and some great acting. The issues with American Nightmare are what is missing in its content rather than its generally strong core.

American Nightmare at The Other Room, Cardiff
10th September – 29th September 2019
Written by Matthew Bulgo
Directed by Sarah Lloyd
Starring:
Lowri Izzard as Daria
Gwydion Rhys as Elwood
Ruth Ollman as Clara
Chris Gordon as Greg
Richard Harrington as The Program
Designer: Delyth Evans
Lighting Designer: Katy Morison
Sound Designer/Composer: Tic Ashfield
Videographer: Simon Clode
Production Manager: Rhys Williams
Stage Manager: Hattie Wheeler
Assistant Director: Duncan Hallis
Casting Director: Nicola Reynolds
Production photography: Kirsten McTernan
Fight Director: Kev McCurdy
Associate Director: Matthew Holmquist
Accent Coach: Emma Stevens-Johnson
BSL Interpreter: Sami Thorpe
Set Builder: Will Goad

Theatre

Review Constellation Street The Other Room by Lois Arcari

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A set of four intertwining monologues dividing tight – and tightly packed – spaces in a pub theatre tucked underneath the train stations – literally hidden gem.

Hardly a setup for convention.That, for the audience, is sublime.

The set design by the obviously talented Amy Jane Cook, catches you immediately, as you’re led through Constellation Street. The sets, three internal sets each toe the line between intimacy and claustrophobia just as the street itself does; a fifth character illuminated by its cast, the staging, and the experience theatre the play provides. The multiple sets were all done brilliantly but didn’t take the balance off the play itself. The outside platform fits perfectly; the noise of Cardiff against its backdrop illuminating rather than distracting; a brilliantly designed set up that draws subjective meaning without ever prompting it unsubtly.

This set up perfectly captures the mix of realism and delirium imbued in the play; the smallest pieces of the everyday evolving into a smooth hallucination between reality and melodrama. The play is flawlessly cast, each delivering their characters believably, and essentially, ambiguously. Each monologue in itself invites a wealth of interpretation, and the contradictions between them made for a more interesting whole; turning to pin point lies and honesty, or if indeed, they are even mutually exclusive at all. Distrust and uncertainty were the stars of the script, crawling under the skin the most effectively.

Tonally, the play was dark without nihilism, realism providing the comedy. Narratively, it could veer dangerously close to artifice; interweaving of monologues a little predictable at times, but with the cast and this experiential, experimental play nevertheless not straying from its basis in character, its brevity seemed at once a loss and a basis of its charms and wit. In its intimacy, the stories packed weight, but, because of its root in subjectivity were not always as deeply felt. We are dragged into the confusion, loss and grief of the characters, rooted in their street but projected through to any other. Although narratively slick, the close web of all the characters seemed to displace it from an every town, an idea the play needs to pack the punches it delivered, more lastingly for its audience.

One idea in particular, maybe from just seeing three of four monologues, was that one interesting idea seemed left to flounder. Parts were resonant, parts were shocking;but although technically brilliant, it never seemed to project itself onto the outside world. Perhaps, I must concede, the intention for us ‘invaders’ on the street.

It’s not that there was style over substance, but merely that the substance is felt harder to relate to in an outside context because of the stylistic excellence. As a piece of event theatre with the atmosphere of a clandestine treat, it is a must-see, but it’s genuine emotional resonance, or at least the extent of its power, is an ambiguous thing; as hard to track as the characters it writes of.

Theatre

Review Constellation Street The Other Room by Kiera Sikora

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insomnia-image-small

Constellation Street; a place of conscience, cowardice, courage and heart-hurting honesty.

Firstly we meet Ruth (Nicola Reynolds) a brash and beautiful landlady with a lot to be said about good deeds, their punishments and the past they create. Set in her homely pub, she creates that warm atmosphere that lulls you to your local and before you’ve taken in her purge of emotions- she’s opened the door for you to leave her, silently.

But the night continues, we move on then for a brief song with Alex (Gwenllian Higginson) at a gig in what may well be the pub we’ve just left. Her wide eyed gazes and drunken antics on the stage make you laugh and wonder. She seems to think too much, yet little of herself.

Swiftly then we move into the humid hotel room where we are met with the seemingly sweet Stephen (Neal McWilliams). He’s awkward and intense, both distant and present. He doesn’t break his gaze. It’s almost like there’s nothing left in him to be broken, nothing more that he could break. You feel his pulse must match the pace of his speech as he punches your heart with his harrowing story of love, loss and loneliness.

We then head back outside to Alex and her cheap, cheap lager, and we listen to her as she lays her life’s bones bare in front of us. She’s like no one’s child, a girl with questions and no one around who’s patient enough to listen to them, until we’re there. Her actions don’t gain her the answers she was looking for, but they no doubt change and add to the questions she already has. That alone is something that connects these pieces and people together.

This play’s genius lies in its more than admirable attention to detail and how the writing doesn’t allow you to think that it’s ever been written. The emotions are raw and the situations so real it makes you think of the Constellation Street (or Streets) that exist outside of the intamcy of Porter’s.

It’s important to add here to that a fourth monologue exists in this play; Frank’s (Roger Evans) story completes Constellation Street.

The small space at The Other Room has been completely, wonderfully transformed, so that walking to the bar after the show feels a bit like a daze. Amy Jane Cook’s design is impeccable and deserves all compliments and more. As do the directors Chelsey Gillard and Dan Jones for collecting and connecting this puzzle of a play and completely utilising it’s uniqueness and relevance.

Theatre

Review Constellation Street by Kaitlin Wray

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constellations-street-gwenllian-higginson-credit-aenne-pallasca

Constellation Street written by Matthew Bulgo is a combination of four monologues that interlink with each other. Just like Matthew Bulgo’s ‘Last Christmas’ produced by Dirty Protest these stories are cleverly thought out and are both captivating and raw. For this production the team at the Other Room Theatre completely had their work cut out. For anyone who has already been to the Other Room Theatre they wouldn’t have thought it possible that a conventional theatre space could be turned into three separate rooms in completely different habitats. One a hotel room, another a back of the taxi cab and one a bar. What made this show even more unique was they used a part of the courtyard for the final scene. It all worked magnificently. There were some occasions when you could hear what is being said in the other spaces but it didn’t take away from the performance. This really showed the different dimensions of each monologue.

Not only did I get the chance to watch this incredible immersive performance, but I also had the privilege to overlook one of their rehearsals to get a feel of what it would be like directing a production. Watching Chelsey Gillard and Dan Jones at work, both of them taking two monologues each to work on, it was evident that their artistic minds knew exactly how to take on this performance and they both did tremendously. In this rehearsal, a week before the show, I had the chance to watch Nicola Reynolds performing the pub landlady. Even at this point in time she had the character pretty much nailed and it was wonderful to watch. Her mannerisms and the way she effortlessly told her story was endearing. I’m gutted that I didn’t get to see her perform in the actual show but it gives me another excuse to watch this show again!

The first room I went into was laid out as if we were in the back of a taxi cab. Roger Evans, playing Frank had his back to us for the majority of the performance with the front mirror showing his reflection. This made his performance even more realistic and raw which made this scene more emotional, it felt like you were there to really consolidate with the character. This is a great way to break away from traditional theatre settings and to show people that the character doesn’t always have to be on a stage speaking out to the audience.

Then our mini group got lead out into the courtyard for a musical interlude which was a rendition of “All I Want” by Kodaline, sung by Gwenllian Higginson. What once was a lovely lyrical song turned into quite an amusing karaoke bash. Even though it was just a musical interlude we really felt for Gwenllian’s character, and it gave us an insight of what might to come later with her performance.

https://soundcloud.com/in-demand-scotland/kodaline-all-i-want-session

The second monologue I saw was the character of Stephen played by Neal McWilliams. We entered into a room that looked like a generic hotel room with the classic painting on one of the walls. We were all told to sit down, get comfy and even sit on the bed. Personally this took me out of the mind frame of being an audience member and here to really listen to what’s being said and to give advice or help in any way. The monologue was, heart wrenching, it showed themes of betrayal and loss. Neal really took us through the characters life which started off quite pleasant but then turned as the story went on. It felt like he was completely reliving what had happened and the memories he has. By the end of it all I wanted to do was give him a great big hug.

The final scene took place in the courtyard with the character of Alex, played by Gwenllian Higginson. I already had the privilege to watch Gwenllian’s scene, and see a section of it being performed. However listening to it being doing outside it felt like it was the first time I was hearing the words again. Gwenllian, played Alex as a sassy girl who appears to be in control of everything, someone who has been through a lot. Her ability as an actress to show the different emotions she has with ease and convincingness was inspiring to watch. There were some real comedic elements to this monologue which she played with great timing and demeanour. It was tense and you were completely drawn in to everything she was saying. The only downside was that you could hear the Porter’s customers in the other section of the courtyard and due to it being a Friday night it was generally quite loud. However the one up side to this is that it felt like we were at a open mic night or at a stand up comedy where it would be loud. This I believe enhanced the intensity given to the scene.

Not only was the acting outstanding, but the whole company really went above and beyond in making this performance unique and memorable. Matthew Bulgo is a genius when it comes to writing original and amazing stories that really grip the hearts of audiences. The monologues interlinked beautifully. I thoroughly enjoyed watching it and would love to be taken on this journey again.