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REVIEW: TURBINES at RWCMD by Gareth Ford-Elliott

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out of 5 stars (1 / 5)

Turbines by Sarah McDonald Hughes follows six students (aged around 15-16) in a unit-classroom as they deal with the stabbing of a schoolmate. This leads to Mia stabbing her teacher in the first scene as the play attempts to explain why this happened, exploring who these young people are.

The play suffers from the use of stereotypical characters who possess little depth and writing that feels lazy. As though students are chucked in a unit and that will justify the stabbing, but it doesn’t. Even within their backstories, their presence in the unit is not justified.

As it is, the play feels it would be more interesting placed in a standard classroom as the play currently comes across as a series of events that are mostly irrelevant or insignificant, particularly given the moral protection of the unit.

The flow is constantly interrupted, and it moves too fast without allowing time to explore the characters. There are a few breaks that offer potential such as Tina’s boyfriend breaking up with her or a flashback to the start of Mia and Grace’s early friendship. But even these scenes show very little emotional intrigue.

There is no overriding story, really, besides the two stabbings. The backstories cover most of the play, but these are stereotypical. Parents who argue, a young pregnancy, an ill mother, and so on. These backstories are not unique, offer little significance and just when you’re expecting something to tie it all together, they look at some turbines, say they feel calm, and nothing happens.

Moving onto the turbines, the title of the play and the key piece of symbolism provided. Trying my hardest to drag something out of this, I would say that the turbines are meant to represent serenity and persistence in a tough environment. A symbol that allows the students to express. The rotation of the blades also possibly referring back to the cyclical nature of knife crime. The symbolism is somewhat tacked in and unclear, with potential it’s just not reaching.

Turbines explores multiple possibilities that can happen when the major event, the stabbing, occurs and explores how that might affect their lives differently. It’s also unclear which of these is the ending or if the writer wants there to be one specific ending. Perhaps not an issue for where this piece was imagined to be but given that it appears to try to question why this stabbing might occur, the lack of a definitive ending is a problem.

I can see where this play goes wrong in the writing process, as it has a singular focus at its core and fitting that to a cast of seven is hard. It centres around Mia and everyone else is basically irrelevant. And if that is the aim, then why bother with 90% of the rest of the play? There is potential there for a good play about Mia. But it needs expanding, focusing and lots of cutting.

I just struggle to see how a play produced in collaboration with Paines Plough could be quite this underdeveloped. My guess is that the writer wasn’t afforded the time or support necessary for this piece to succeed. I don’t think you can pin the play’s failures solely on such a talented and promising writer.

Emily Ling Williams direction just falls a little flat. There are attempts at characterisation through the acting, some of which work, some don’t. The tone and pace are not handled particularly well, however this is quite hard as the story beats are all over the place. It’s a tough play to direct, but Williams stumbles to raise the bar for the production.

Rocky Hood’s lighting works well, very understated, but is one of few positives from this production. The sound design from Jack Lancelot Stewart is fine. It’s nothing exceptional and sometimes intruding, but decent overall.

Clare Johnson’s set is a little clunky and often gets in the way, although does a good job of establishing location. The fans, representing wind turbines, just look tacky and don’t work.

The performances from the cast of seven are all decent. But really, most of the actors don’t have much to play with. There are clearly attempts at characterisation made by the actors with the director. Amesh Edireweera’s mannerisms as Liam, Finnian Garbutt’s boyish immaturity as Reece and Nina Bloomgarden’s grace as Grace all stand out as expansions on the script.

Unfortunately, the school teacher, portrayed by Lilly Tukur, Jack (Harry Heap) and Tina (Julie Lamberton) are all pretty much unsavable. The performances are good for the most part, given what they had, but they really deserve better.

Abbie Hern stands out as Mia. Her character has the most substance and is the most explored. Hern rises to this and delivers a great performance which is one of few shining lights in this production.

Turbines examines young people and their actions in what is an underwhelming production that can’t be saved by its strong cast.

Turbines performed at The Bute Theatre, Royal Welsh College of Music and Drama
19 – 21 March 2019 in Cardiff
Transferring to The Gate Theatre, London, 2 – 5 April
Written by Sarah McDonald Hughes
Directed by Emily Ling Williams
In Collaboration with Paines Plough
As part of RWCMD’s ‘NEW’ Season
Starring:
Abbie Hern as Mia
Nina Bloomgarden as Grace
Finnian Garbutt as Reece
Amesh Edireweera as Liam
Julie Lamberton as Tina
Harry Heap as Jack
Lilly Tukur as School Teacher
Production Team:
Set & Costume Design: Clare Johnson
Lighting Design: Rocky Hood
Sound Designer: Jack Lancelot Stewart
Assistant Production Manager: Alexandra Drescher-Elphick
Stage Manager: Jessica Forella
Deputy Stage Manager: Cara-Megan Rees

Assistant Stage Manager: Amy Hales
Design Assistant: Rachel Merritt
Technicians: Ella Cunnison, Kitty Dunning, Jamie Holden  and Paul Kaiba
Venue Technician: Evie Oliver
Supervisors: Kristy Bowers, Rob Clarke and Laura Martin

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Review, Island Town, A Theatr Clwyd/ Paines Plough Co-Production by Gareth Williams

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out of 5 stars (4 / 5)

The Roundabout Theatre makes a welcome return to North Wales sporting a rather distinct yellow exterior. If you’ve not heard of it before, this is a theatre like no other. Assembled from flat pack with nothing but an Allen key, once complete, it is a fully self-contained, intimate little theatre that houses some of the most fantastic new plays in Britain. One of those plays is Island Town, which I was lucky enough to see last week. This 80-minute story of small town life could be described as a dramatic stage version of the BBC3 comedy This Country. Still full of humour but with a darker political edge, Island Town focuses on the lives of three friends trying to get by in a place that offers very little in the way of meaningful activity. With only the hope of escape, they settle, for the time being, on hanging out with one another, getting drunk on cider and looking ahead to the start of their adult lives. But when school’s out and exams are over, they find that it’s not so easy getting by in a place where there’s nothing to do. And escaping is not as easy as it sounds.

Writer Simon Longman has done a sterling job in creating a simple yet powerful narrative. He has created three well-formed characters that all three actors seem to comfortably step into and make their own. It is their relationships that drive the story forward, and make this piece particularly engaging. Whilst I am sad that the wonderful Katie Elin-Salt is not part of the cast this year, the production company, Paines Plough, have nevertheless found three excellent actors to play the roles. Katherine Pearce, in particular, has proved to be a real coup. I say this because she steals the show as Kate, an angry and assertive young carer who feels trapped by the need to look after her ill father. Pearce crackles with antagonistic rage. She places Kate as the centre of attention, a position which seems to strengthen her resolve whilst simultaneously covering up her vulnerability. Such is her pragmatic insistence and strong-willed notions that the three of them must escape the confines of their hometown that we, like Sam (Charlotte O’Leary) and Pete (Jack Wilkinson), agree to go along with her. Yet the consequences of such a decision are damaging to say the least. From here, Pearce slowly allows her character’s vulnerability to creep up to the surface. She causes the fragile state of her character to painstakingly crack through its steely confines. Such a move makes for an emotive performance, and makes Pearce herself one-to-watch.

Both O’Leary and Wilkinson give good support to Pearce in her more central role. In particular, Wilkinson brings a wonderful humorous naivety to his character. He deposits real warmth into his performance that evokes much laughter from the audience, particularly as he spins a fantastic web of outrageous stories, the highlight of which has to be his cremation for a fish. You can’t help but love him, which is why the injustice that he subsequently suffers elicits very strong feelings. In this instance, Longman makes Pete a political mouthpiece for the small town unemployed. He notes that there are no jobs in the local area. With no means of earning money, he must sign on. Yet he can’t sign on as he hasn’t got enough money for the train to the out-of-town job centre. There are no buses, and he can’t drive either. The non-specificity of Island Town’s setting means that it speaks generally into the heart of rural British life, of “Towns that sit like islands in the middle of fields”. Longman shines a sharp spotlight on the realities of small town life, making this not only a humorous play but a very relevant one too.

Island Town is a funny, thought-provoking play of minimalist proportions. At the same time, its message is somewhat universal. At one end, it captures the wonderful creativity that can arise from sheer boredom. On the other hand, it reveals the desperation that can result from a lack of amenities. Katherine Pearce gives a strong emotive performance as Kate, ably joined by Charlotte O’Leary and Jack Wilkinson. The three capture life in a small town incredibly well. With no props or no scenery, they still manage to draw us into their world and make it incredibly real. I’d recommend you catch it, if not in Mold then elsewhere. That’s the beauty of this pop-up theatre. It can pop up anywhere.

Click here to find out more.

gareth

Theatre

Review, Out of Love, The Roundabout Theatre at Theatr Clwyd by Gareth Williams

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out of 5 stars (4 / 5)
 
Jodie Whitaker may be everyone’s new favourite female of the moment but my eye has been drawn to someone less well-known. In my second trip to the Roundabout Theatre in a week, a process of regeneration had seemingly taken place. Having taken my first steps into the pop-up theatre last week for the world premiere of Black Mountain, I had returned seven days later for another debut show. To my surprise (and delight), I found the same three actors from Brad Birch’s play starring again, this time in Out of Love by Elinor Cook. They had undergone a transformation which now saw Sally Messham and Katie Elin-Salt playing best friends Lorna and Grace. Hasan Dixon was now playing a host of male characters, showcasing his talent for versatility. However, it is Elin-Salt who has caught my undivided attention.

In Out of Love, Elin-Salt plays the lovably naïve Grace. Wearing a dungaree dress and plimsoll shoes, there is something eternally childlike about her character. Above all else, I think it is the expressive acting of Elin-Salt that conveys this with such success. She flails about on the floor, swings her legs up and down; her arms are constantly in motion, her shoulders slightly elevated; and her mouth seems to return to the default position of “slight frown” after every piece of dialogue. It is the intimate nature of this round theatre that allows the audience to pick up on such small details. This adds to the quality of the characterisation which, in Elin-Salt’s case, is near perfection.
The retention of her South Walian accent is a stroke of genius. Elin-Salt’s ability to utilise the musicality of her accent in order to convey such contrasting emotions is pure joy to the listening ear. In Black Mountain, she flattens its naturally-high pitch to express a degree of seriousness. In Out of Love, she emphasises it. This gives a comical edge to Grace that increases her likability. It also enables for the exploration of sex and sexuality. Not that this cannot be talked about in a serious way. However, Cook’s decision to examine it from the perspective of two female adolescents makes for a more naturalistic, animated and frank discussion.

There is also a vulnerability to Grace which Elin-Salt beautifully conveys – a deep desire for intimacy that hints at jealousy towards Lorna’s ability to pull men. For the supreme closeness of these two best friends, there is also a hidden tension. It is testament to the quality of Cook’s writing that this unspoken emotion never bursts onto the stage. Instead, it is veiled beneath some rather ambiguous words and actions. Through her performance, Elin-Salt manages to capture this ambiguity perfectly. She peels back the depths of Grace’s heart, ever so slightly, to subtly reveal her concealed motives. She manages to do this so imperceptibly that I could not help but burst with admiration towards the depth of her acting skills.
Out of Love is a suitably complex portrayal of female friendship. Elinor Cook presents an entertaining and engaging narrative featuring two female protagonists over some 20-30 years of their lives. Sally Messham gives an accomplished and controlled performance as Lorna. She does not put a foot wrong and perfectly complements her fellow lead. It is Katie Elin-Salt who wins much of the applause from myself however. Not excluding the above, her natural enthusiasm and depth of imagination make her an infectious talent. She weaves such fine complexity and depth of character into her performance. She is a delight to watch. She also makes a strong case for championing a great deal more female-led narratives. This is one reason to be excited at Whitaker’s casting. But whilst I await her arrival as the 13th Doctor, I shall revel in the discovery of another talented actress. Katie Elin-Salt is, surely, a major talent in waiting.
A Theatr Clwyd, Paines Plough & Orange Tree Theatre co-production | Directed by James Grieve
https://www.theatrclwyd.com/en/whats-on/out-of-love/

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Review Black Mountain, Paines Plough, Theatr Clwyd by Bethany McAulay

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out of 5 stars (4 / 5)
 
The Roundabout Theatre is small – and though I initially appreciated the intimacy of the compact audience, as soon as the lights dimmed, I began to experience intense claustrophobia. This, I believe, was intentional on behalf of the production team, who succeeded tremendously in their apparent attempt at creating an almost Artaudian production. I cannot distinguish a moment in which I was not on edge, or physically quivering, for the relentless mystery of the play. Certainly, Brad Birch’s ‘Black Mountain’ is the most refreshingly original, and impressively sinister play that I have ever witnessed.

Hasan Dixon portrayed Paul with an extraordinarily potent, compelling, and convincing performance; so much so that one may mistake his acting for genuine fear and frustration. This, naturally, only strengthened the air of threat that seemed to consume the theatre as effectively as the lingering clouds of mist (which, equally, were outstandingly atmospheric). His portrayal was, above all, believable – and that is predominantly what allowed for the exponentially threatening atmosphere that left me feeling equally as terrified as Paul himself.

Sally Messham as Helen was extremely well played, and though the actress’ characterisation of the character was beyond satisfactory, the character itself was difficult to understand. Helen’s flaws seemed to be ingrained not in Messham’s performance, but in the script itself, as a character who was initially presented as understanding and concerned for Paul’s wellbeing, abruptly became depraved and psychopathic; which seemed too unrealistic, even for this play
In point of fact, I found that the script lacked substance. Most of the action and thrill derived largely from the physicality and manner of the actors, as well as the technical and atmospheric devices employed. I believe that, had I not viewed this play in the intimacy of the round, and thus felt so closely involved within the performance, the dialogue would not have been sufficiently strong or theatrical enough to create much tension at all.

For a large part of the play, Katie Elin-Salt’s portrayal of Rebecca was almost frustratingly unconvincing, and was mostly comprised of repetitive gestures and an unchanging tone of voice. In contrast to Dixon’s consistently adaptable tone and manner, Elin-Salt’s performance did not appear to vary much at all, and became very unstimulating, very quickly. However, I began to understand the characterisation only in the final moments of the play, when Rebecca’s soullessness became intensely ominous, and I started to truly appreciate the darkness of the character. I truly regret that this was only prominent within the final ten minutes.
Although the set itself was essentially non-existent, the production was impressively and ingeniously staged, and though techniques such as sudden descents into darkness were frequently adopted, i was equally as stupefied by the final burst or strobe of glaring light than I was by the first. My feelings of paranoia and entrapment were prominent and consistent throughout the entire performance (though this was certainly not unpleasant – I acknowledged and appreciated the psychological thrill). Additionally, the employment of a single torch on stage whilst the remainder of the theatre remained in absolute darkness, as well as the frequent ear-splitting screams, were profoundly, and intriguingly, effective. Equally, the tension was enhanced tremendously during the moment in which Elin-Salt and Messham disappeared from audience view and ran frantically around the exterior of the seating area. Particularly during this moment, their menace felt like a personal threat.
‘Black Mountain’ was so consistently immersive, and felt so isolated from the world outside the theatre, I had to remind myself on numerous occasions throughout that it was merely a performance.
https://www.theatrclwyd.com/en/whats-on/black-mountain/

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Review Black Mountain, Co produced by Theatre Clwyd, Paines Plough and Orange Tree Theatre by Karis Clarke

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out of 5 stars (4 / 5)
 
Thursday 13th July 2017 Roundabout Pop up Theatre
Written by Brad Birch
Starring Hasan Dixon, Katie Elin-Salt and Sally Messham
Directed by awarding winning James Grieve Black Mountain is a disturbing physiological thriller that explores the darkest side of relationships. Set over a five day period, this one act play holds the audience in the middle of its white knuckle clenched palm. With a cast of three and brimming with expression the plays world premier was in  the grounds of Theatre Clwyd in Paines Plough, Roundabout Popup theatre. With a limited space, a couple of props namely a torch and (another item I shall not name for fear of ruining the plot) and extremely clever and well timed lighting, the focus was solely on the acting.  Thankfully the actors were all highly skilled and more than capable of delivering the multifaceted characterisations this play demanded.
 
I don’t want to give the plot away, as I think new stories are so few and far between in the theatre they should be cherished and discovered fresh by each audience. I will say from the get go the story had you guessing – why where they there ? What was their story ?  What was really going on ? The biggest question I had constantly going on however was – who’s side was I on? This type of dilemma I have a love hate relationship with. I admire writers who can produce characters who are so much more than the words on the page – and all three of these characters clearly are. We are never given the full story – just hints as to what has happened and with one word the characters / actors spoke volumes.  Speech was both passionate yet comic, weak yet strong, emotional yet pathetic – just as it is in everyday life .
The Roundabout pop up theatre is not a big space, although cleverly designed to seat a decent sized audience the actual stage space is small, fortunately for this play the close proximately to each other and the audience only added to heighten dramatic tension. I couldn’t help thinking how the play would work on a normal stage with props and staging I don’t think anything would be gained by setting the play differently, in fact I would suggest tension may be lost if the play had ran in a more naturalistic setting.
As it was, it certainly held jump out of your seat moments, if not jump out of your skin!

The Playwright Brad Birch

Well this dish had been well seasoned and cooked to a very high standard, my only reservation was the ending – without wanting to give anything away I would have been happier if there had been a final glimpse to just tie up the ending – a sprig of parsley –  just for clarification – but that does go against the grain of how the play ran – there was something along the vein of The Tales of The Unexpected about the story, you thought you knew what was coming, then you never, then you did, then what you thought half an hour earlier turned out to be right all along!
Overall this was a very enjoyable piece of theatre made all the more exciting by the fact it is being performed in a portable theatre that can literally be popped up at the road side if needed. (I support anything that involves theatre getting to the people or people getting to the theatre).
Black Mountain will be showing at Theatr Clwyd, Mold until 21st July and after then it will be touring various venues including Edinburgh Fringe before concluding at the Orange Tree Theatre in March 2018.
https://www.painesplough.com/play/black-mountain
For anyone who likes their drama with  a twist and sting in the tale this is a definite!