Tag Archives: Hannah Goslin

Review, Airswimming, Weird Sisters Theatre Company, The Bread and Rose Theatre, By Hannah Goslin

 out of 5 stars (2 / 5)

A taboo subject, even in the modern day – we are still unsure about how to approach the subject of mental health. While it is understood more today, to be a woman and with such a medical condition back in the 1920’s was something that was frowned upon.

Telling the story of two women, Weird Sisters Theatre Company give us the stories, the relationships and 50 years in an insane asylum. We meet Persephone who as a young 21 year old is brought to the asylum for her relationship and bearing of a child with a married man and is thrown together with Dora, a gender confused woman obsessed with the military.

Two different characters, each scene shows the back and forth from the future to the present day. The performers do well to switch the characters and their growth from originally making no connection, to becoming the best of friends. Simple light changes from a blue for the beginning of their relationship to a red for the future, we get a sense with the acting of their progression of friendship.

The writing is clever in its use of phrasing for the insane, opinions expressed by others and themselves with drawing upon ‘witches’ and sorcery; Dora’s obsession with the military and stories of historical strong women gives us a sense of pride in feminism but also anger that these views have led her to incarceration due to the threat of the patriarchy of the time.

As years pass, there are hints of the 1950’s, Doris Day and other elements through time, while the characters stay in their plain, Victorian-like clothing. We are lost in the sense of time with confusion of where we are and what is happening – a good way to mirror to the audience how the character’s must feel with the mundanity and repetition of institution life.

Without revealing any spoilers, the performances and writing pull at your heart strings and make you feel for the characters. Simplistic set, lighting and gentle sound does well to highlight the performance but not take away from it.

Airswimming is clever in its look at mental health, bringing it  to the forefront not just for women, but everyone and also highlights the importance of friendship.

Review Minefield, The Royal Court, Lift Festival, By Hannah Goslin

 out of 5 stars (5 / 5)

Up in the circle, viewing down onto the stage, a masterpiece is about to unfold.

What looks to be a simple set up – a big double screen, as if a cube had been cut in half, a drum kit, some guitars, a desk, costume rack and a camera. A simple yet welcoming stage to the mountain of feeling, expression, truth, fear, sadness and joy that is to fill this theatre.

Minefield, as part of the ‘On the Move’ series for Lift festival (an international theatre festival) takes veteran’s from the Falklands war, from both Britain and Argentina and brings their experiences of the war and compares one to the other. Bringing two enemies against each other on stage sounded like a dangerous and taboo thing to do – these veterans came as enemies and left as friends.

For ordinary men who are simply telling their story, their musical hobbies are used to bring an interesting element to the show. When you see a documentary on TV, there is some background music to parts and this was like a live documentary in front of our eyes- the talented veterans providing the ‘scene change’ music and showing who they are now is clever and shows more to them as people than just soldiers, marines and naval officers.

Multimedia was used throughout bringing new dimensions to the production. We had translations in both English and Spanish depending on who was speaking – despite one or two of the Argentinians being able to speak English, the majority of the performance was kept in mother tongues which gave a sense of nature and respect of cultures to the piece. A camera zoomed into performer’s faces, souvenirs and tangible memories for us to see more of; background video and animation was thrown up on the big screens – we were instantly brought into their lives and privy to their secrets.

The men were treated as performers-they provided their own soundscape using voice, breath and bringing objects together; they played different characters , interacted and trusted one another in their performance, put their truth on the line and respected one another for this. These men provided some of the best performance skills and techniques I have ever seen, and they were not trained or necessarily theatre fanatics as most performers in the industry are meant to be.

Perhaps the truthful and hard hitting stories, coming from the people themselves brings out the real performer and the real enthusiasm to portray not only their own but each other’s lives. It was evident that great friendship had been made and this made for the performance to run smoothly, cleverly and to make you think.

Ending with a full band featuring all the ‘cast’ singing and playing a rock song with lyrics relating to what soldiers do, the bad, nasty and the ugly. Rhetorically we are asked ‘Would you go to War? Would you?’ leaving us questioning ourselves to whether we would after hearing the reality that was not shown in the press.

I know what I would reply after being asked this. But what I ask you is, why wouldn’t you go to this production? As rhetorical as they ask their question, there is no answer needed and no doubt that you should.

Minefield
Royal Court Theatre
Lift Festival
10/06/16

Review Human Animals, The Royal Court, By Hannah Goslin

 out of 5 stars (4 / 5)

Back to the Jerwood space – transformational, the scene is a complete change to what I have seen previously here.

Looking down on a modern, clean, almost Ikea like garden space, there are large windows, a barbecue spreading delicious smells and 6 actors going their ‘daily’ business.

Human Animals looks at the progression of an apocalyptic world and how easily the environment changes and how people can change when fearful and under threat. There is relation to the media and how it is portrayed, and in conversation, people’s discussion and opinion on this, with two sides of British reactions – either everything will be wonderful and will be fixed, or everything is entirely doomed.

These 6 actors give a wonderful performance, each with a character of substance and likelihood of change. We firstly are eased into the character’s, who they are, what they do, their personalities, our relation to these aspects. Once hysteria hits, it’s hard to not continue relating to them, questioning if this would be how you would react if it seemed that the world was slowly ending.

The layout of the production and the slow progression from normality to chaos and back to some resemblance to normality reminded me of watching animals in a zoo – things happen and instincts take over but there’s nothing you can do to help and no escape – all you can do is keep watching it unfold. The only difference here being that there is no screen in front of us, the screen is behind them. Occasionally liquid in various uncomfortable colours is sprayed down it and a person in a hazmat suit comes along to perform fumigation on the otherside. We are put in this comfortable bubble, but with the disintegration of the characters’ lives, minds, health and relationships, are we really that safe?

There is no attempt to hide any of these blatant facts that this production puts into your mind – there is gore and there is shock factors that leaves you thinking, considering life as it is now and the likelihood of this being a prediction of the future. And this is good – there’s no point hiding it and you are forced to sit up, listen and relate.

Human Animals is not only astonishing, but honest. No American zombie killing heroes to the rescue here; natural environments under threat, real possible events that could unfold in reality, truthful reactions and consequences. The performance aims to make you think, see and listen.

 

Review Hairpeace Battersea Arts Centre By Hannah Goslin

Hair-Peace-Landscape

 out of 5 stars (3 / 5)

Beginning this one woman show, Victoria Melody begins with an  introduction to who she is, her previous show ‘Major Tom’ and where this brought her to the current production. She is a little bit odd, very talkative and full of expression. But it does put me on the edge of what was I really about to see.

This big haired, ditsy blonde seems amateur, strange and unlike anything I have ever seen. But soon, I was going to be surprised and about to eat my words.

Hairpeace begins from the performer’s quest to research a new show by entering beauty pageants. The cosmetic, pristine and long haired beauties we see on stage are all from this niche genre do a lot to make them this certain way. One part of this is the use of hair extensions, which are from real human hair. But where do they come from and does anyone even care? Melody investigates this, going from science, to Russia and to India where these extensions of beauty originate, and the deep dark and emotional secrets unfold.

As previous stated, I believed I was going to witness something amateur and something I was going to walk away from really disliking. I didn’t expect to be engaged, to laugh and to feel sorrow. Melody is so clever – her ‘amateur’ approach, her play on her airhead beauty pageant status is interesting and leaves us laughing. She is not only her intelligent and interesting self, but she plays on her stereotypes and easily wins around those (like myself) whose initial judgement was so, so wrong.

She uses her props, her staging well and plays with it all to bring out a laugh in us – one moment when a solid 3 minutes of her awful disco dancing with a frozen smile and her eyes lighting up in enjoyment is solely there to entertain – she is admirable for not caring what people think and doing things for us to love.

These hilarious and warming moments are comic relief however – the truth behind where hair comes from, her experiences and stories of people she goes to meet in Russia and India are heartbreaking but you are given real people through her filming, real emotion and she’s not afraid to show the real her whether it be taking the mick out of herself or telling the true revelations from her research.

Hairpeace turns into more performance art that a production; the content is real life, it is truth and honesty in all realms. However, instead of forcing us into a documentary, or storytelling, she highlights issues bluntly, bringing in elements of comedy to give that silver cloud. A definite informative and funny must see.

Never was the phrase ‘Never judge a book by it’s cover’ ever as apt as it is for this production; from my initial reactions to the reality of hair extensions.


Writer/ Performer: Victoria Melody
Director: Paul Hodson; Petra Massey
Dramaturg: Rachel Chavkin
Producer: Sean Phillips
Design: Ryan Laight; Joe Murray, Mitch Mitchinson, Evgeniy Kurbatov (Cameras); Richard Davenport, Hugo Glendinning (Photography)
Until 25 June 2016
https://www.bac.org.uk/content/41810/whats_on/whats_on/shows/hair_peace

Review Can I Start Again Please? Battersea Arts Centre by Hannah Goslin

 

landscape

Photo credits, Matthew Andrews

 out of 5 stars (3 / 5)

Language is the common denominator of all cultures. It’s how we communicate. How we progress. It’s a vital part of being safe and how we control our lives.

Can I Start Again Please ? Is a beautiful and simple piece of theatre with an abundance of subtext. It looks at language and how it is used and it’s restrictions. It also looks at elements of childhood trauma and abuse and how language is stunted by these events.

Two performers sat in huge dresses (Sue MacLaine and Nadia Nadarajah) our focus only on their face and their hands with a simple set of a few books by each of them, 3 bells and a large never ending sheet of paper across their laps.

Can+I+Start+Again+Please+-+Words+and+Meaning

At times the minimalism of such a small set and performance in such a large area creates a lack of intimacy. We are at times meant to feel as if we are being addressed but in a large area, it gives confusion as to whether we really are or whether this is directed to the other performer. Or was this the intention?

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The performers show only two of the many ways we communicate – British Sign Language and vocally. The beauty of sign language is something I’ve never before taken the time to appreciate – the fluidity of the movement and the nature of gestures reminded me of a dance – a movement of language. If taken into a different context, there are many similarities in this language to what is achieved by physical theatre. The story or the expression is given through movement and at time abstract gestures rather than a simplistic mime; conveying emotion and meaning to anyone and everyone.

Can+I+Start+Again+Please+-+Bell+and+BSL

Touching upon childhood trauma – the combination of both these ideas into one production is very clever. The performers have taken from personal history which gives a personable and relatable performance. How we are given freedom of speech yet we can be threatened not to speak, be scared to or even lose the ability to through traumatic events, showing the growing limitations language has culturally.

Video credits, Zoe Manders

This minimalistic but contextually full performance is 60 minutes of intensity; highlighting the pain and structure of language especially in difficult situations as well as how culturally it has changed.

I left with much food for thought and a new appreciation of language.

http://www.suemaclaine.com/can-i-start-again-please/

Review The Merchants of Bollywood, Peacock Theatre by Hannah Goslin

 out of 5 stars (3 / 5)

Back again to the Peacock Theatre, one of the wonderful houses of dance in London. From my first experience in ‘the hood’ where urban myths unfold on stage, to a cultural, vibrant and full of life story of Bollywood vs Traditional Indian dance.

The story follows the relationship between a granddaughter and her grandfather and the distance caused between them with his want to keep tradition alive and her eagerness for fame and the Bollywood scene.

We encounter flashbacks vs the current storyline, emphasised by the narration of the progress of the story. With this and the occasional comical and melodramatic scene, we are given the sense of Bollywood humour; an almost Shakespearian technique of throwing in comic relief amongst serious storylines. There is also a slight hint of satire, not just at Bollywood, but of all films across different cultures – pointing out the basics of storylines and how underneath the differences that producers give to a film, they are fundamentally the same.

Majority of the storylines they pick on are girl meets boy romances; the obstacles they face but the ultimate reunion of the characters, conquering all with love. This is mirrored cleverly itself with the storyline of the production – the main character reuniting with her childhood sweetheart after being whisked away by fame and fortune. A cross-culture concept of tradition vs modernisation and the affect it makes on heritage is also picked upon by highlighting through dance and costume the current trend and the more traditional.

The Merchants of Bollywood is full of life and colour – the energy brought to the stage through dance is palpable; the music is catchy and enjoyable; the characters are well formed in their blocks of serious characters and the comical relief. Some of the more serious moments become a little hammed up and caused laughter rather than an emotional expression. I continued to think of this, comparing it to the rest of the production – from my little knowledge of Bollywood, it does have a sense of melodrama and the Soap Opera tint on its stories and characters. By adding these moments to that ideal and taking account of the audience members who this made a positive impact on gauging from reactions, it would seem that playing off the over dramatic Bollywood genre is well constructed by imputing this through these moments; another satirical but celebratory nod to the film genre.

Overall I love The Merchants of Bollywood. As westerners, we have this concept of India as a beautiful, colourful place, steeped in history and tradition, but also in some aspects moving with the times. The story and construction of the production emphasises all of this; coming away without having a good time is pretty impossible.

http://merchantsofbollywood.com.au/the-music/
http://www.sadlerswells.com/whats-on/2016/the-merchants-of-bollywood/
 

Review Sea Life The Hope Theatre, by Hannah Goslin


 out of 5 stars (5 / 5)

London is well known for its Theatre Pubs. A wonderful concept, in the heart of boroughs of the city, there are little spaces where stories unfold, and below in the bar, people meet from all walks of life.

Invited to The Hope Theatre, this small and punky pub collates theatre goers and the locals in one amazing area. Heading upstairs, there is an instant change. A hustle and bustle of conversations drift away and the sound of sea gulls and shanties fill the small room. A strong smell of fish and chips fills the room as we sit like sardines next to one another in a dilapidated seaside bar. A green and blue tint on the stage, the whole room is painted and kitted out to involve you in the scene that begins to unfold.

The story sees 3 dysfunctional siblings after a tragic past and an even more tragic present. The play aims to look a life and death and does this with no fear of the audience sensitivity – just how theatre should be. The cliff is slowly breaking away with natural erosion, and the small towns past in the form of its grave yard is in danger of falling into the waters below and being lost forever. Enlisted to help, the brothers of this trio make the coffins and the other digs up the bodies – all three constructing silly and unordinary funerals in their never used bar.

The writing of this play is fantastic – it is full of emotion but also just as full with comedy. When you are told that this is a play about life and death, perhaps your mind immediately thinks it will be a negative emotional roller-coaster; not for the faint hearted. And it is, and it isn’t. We feel for the characters in their time of need, their frustration but also laugh at their oddball characters, their weird and unusual relationships and their even more bizarre situation.

To have such a mountain of content playing in such a small area is fantastic. The actors pin point their different characters so well. There’s a hint of a League of Gentleman to the production where it is funny but also so strange that you feel a little anxious as to whether something terrifying made suddenly be thrown in. And without giving anything away, it does just that. Finding yourself laughing but also being slightly shocked is a funny feeling but a wonderful one and replicating that with over 30 people is a triumph.

Sea Life must be one of my favourite shows so far in 2016. It appeals to everyone and is extremely British in its comical storyline and production. As a critic, perhaps you should find minor faults, but I cannot say there is a fault with this play. It has everything you need and that just a bit more.

http://www.thehopetheatre.com/productions/sea-life/

Review Smash It Up, Mr and Mrs Clark, Battersea Arts Centre by Hannah Goslin

Smash It Up!

Mr and Mrs Clark

Battersea Arts Centre

 out of 5 stars (5 / 5)

Two years ago I was lucky enough to be part of the Wales Dance Platform. It was an amazing weekend of performance, film and photography from a range of Welsh professionals.

In Chapter Arts Centre, I witnessed Mr and Mrs Clark and their new performance – ‘Smash It Up.’ I came away mesmerised, proud and inspired. A piece that, as always, seemed polished, well-constructed and well created, was only a work in  progress to my surprise.

If you haven’t heard of the Clarks, then where have you been? To come from a working process to where this performance is two years later, seems almost impossible in how much more amazing it can be, when you already think this it’s pretty incredible to begin with. The company embark on a look into the destruction of art in our World and the substandard it is made out to be in relation to more ‘serious’ businesses and topics.

A low hum, we are introduced to a room of tables with destroyed items and highlights of art from music to images to paintings. Noticing under this hum is the sound of sheep – a link to the Welsh nationality being brought into the hub of London? It seems not – the gentle and patient movement of the tables and other furniture soon moves the audience members – purposeful, we are sheep being herded without argument.

The development proceeds from a sense of calm to gradual anger and destruction of not only art but of our freedom as creatives. The performers subject themselves to potential harm and injuries for their cause – a protest on stage.

Mr and Mrs Clark are known for their use of technology, their physicality and their in depth messages. All of this is in abundance and it is put together so amazingly well that the pieces of the puzzle slot together in such a concise but destructive way. Their energy is consistent and impressive, making you feel envious of how they are able to keep physical for so long – true professional and skilled performers.

If there is only one thing you do this year, it should be to see any show by this formidable company. Their open and in your face opinion and protest to the state of art leaves you not only thinking but also rooting for them if you weren’t already involved In the conversation. Flying the flag for Wales – The Clarks have easily conquered London.

Mr and Mrs Clark

Battersea Arts Centre

http://www.mrandmrsclark.co.uk/index.htm

Review Big Bottom Bonanza, London Burlesque Festival, by Hannah Goslin

London Burlesque Festival

Big Bottom Bonanza

 out of 5 stars (3 / 5)

It’s that time of year again. In the heart of Camden ladies and gentleman travel near and far as performers and audiences to see this famous name – a festival collating cabaret and burlesque performers from all across the world.

For the first time ever, the festival brings a night of big bottoms but not for the first time, talent, beauty, charisma, gorgeous costumes and dazzling routines.  Known for its body appreciation and acceptance and celebration of men and women alike, this themed night doesn’t seem like something new. Burlesque crowds accept the art and not the looks and celebrate all forms of people. But this night collates these curvaceous beauties and their amazing confidence.

From the patriotic British routine, where we are made to salute our queen and country in the name of wiggling bottoms to a flown in New Yorker bringing us a cheeky classical routine, as always the festival brings a range of routines that make us laugh and leave us in awe. We’re transported from the 1940’s cabaret scene to a 70’s disco and each time there is excitement, there’s something new and something even more admirable than the last.

Anyone can love burlesque – and I urge everyone whether into theatre, into cabaret or none of these art forms at all to see a show. There’s always something either in the theme, in the types of performers or in the choice of routine ideas – one show leaves you confident, elated and able to conquer the World.

 London Burlesque Festival
May 6-22
Dingwalls
 

Review Closer, Circa, Udderbelly by Hannah Goslin

http://www.udderbelly.co.uk/images/made/images/uploads/closer_for_web_750_500_60_c1.jpg

 out of 5 stars (4 / 5)

Closer
[Kloh-ser]
Adjective
Comparative of close

Close
[Klohz, Klohs]
verb (used with object), closed, closing.
to bring together the parts of; join; unite (often followed by up)
verb (used without object), closed, closing.
to come together; unite:
to come close: 
to grapple; engage in close encounter (often followed by with)
adjective, closer, closest.

having the parts or elements near to one another:
being in or having proximity in space or time:
marked by similarity in degree, action, feeling, etc.:
near, or near together, in kind or relationship:
intimate or confidential; dear.
based on a strong uniting feeling of respect, honor, or love:
Audio Described review 

The word closer has so many different meanings – the list goes on. It can be negative and it can be positive. In the case of Circa’s performance of ‘Closer’, it is certainly a positive experience emanating the above definitions and some more.

How much closer could one get to a small, intimate audience, only a matter of inches away from bending, flipping and tumbling bodies, inside the belly of a giant purple cow? Everything about this show is the definition of Closer – the performers with their relationship, trust and confidence in one another to undertake stunts in a small area, to be close physically with one another to do death defying aerial tricks, push, pulling and throwing each other around the stage; the interaction with the audience through speech, facial expressions and involvement of a select few.

Through the dangerous tricks, the rare but possible accidents and often the technical aspect of rigging and staging, it’s a new take on circus to attempt this in such a small area. Stereotypically we are used to the big tops, some branching out and bringing new takes on circus but still in large arena’s such as the astonishing ‘Bianco’ by Cardiff’s own No Fit State Circus and the occasional trapeze, hula hoop or juggling in small cabaret settings such as variety and burlesque shows. However, this is instantly something new. Minimalist set and rigging, the majority of the tricks performed make use of the performers bodies instead of staging and rigging. Moments that make the audience gasp in pain, when the performers look comfortable and still at ease. These performers make everything look so easy – but still, DO NOT TRY AT HOME!

These awkward oddball cool kids not only give us tricks, but they give us acting. Their strange romantic yet family-like playful interaction with one another as well as with us gives us a warm feeling inside and also a little giggle. With the addition of music which is a mixture of popular songs, remixed versions and then strange instrumental combinations, these parts of the Circa puzzle gives the whole sense of a strange Parisian world where these characters are the only 5 who reside – but yet we are welcomed and included with open arms.

Cringey yet fascinating and exciting tricks, air defying skills, a bit of danger, a laugh and something a little different to the ‘norm’ – what else would you want to spend your night watching?