The Maids - Seven Arts Theatre, Leeds (On behalf of The Public Reviews)

This review was originally written for The Public Reviews and the link can be accessed here.

Accessed from The Public Reviews 

(http://www.thepublicreviews.com)

Hedgepig Theatre, a local independent theatre company, is renowned for their dark thought provoking productions and takes pride in performing at unique spaces and venues.  Their current production, Jean Genet’s The Maids, is currently touring at venues across Yorkshire.

The audience enters the small dark and dimmed lighting auditorium where they are intimately greeted by two characters, the two sisters, who are at awkward ends with each other.  The tension suggests this will be a dark play with anticipated twists and suspense.

Adapted from Genet’s Les Bonnes, The Maids is based very loosely on Christine and Léa Papin, two sisters who were infamous for murdering their employer in France, in 1933.  In the play two sisters, Solange and Claire, who in turn plot the murder of their mistress through powerful and manipulative role-playing.  Gemma Sharp and Anna Rose James energetically and playfully portray the sisters’ determination to detail of their compulsive and obsessive plotting, leading to distrust and ultimately self-destruction.  The sisters also include their experiences of their love/hate relationship between them and their mistress, played by Victoria Delaney.  The story is accompanied by Kelli Zezulka’s timely lighting and relevant sounds, indicating that the story is deeper in intrigue and curiosity than it appears to the eye.

Curry no doubt stages well a short compact and complex play with unexpected changes of emotional and psychological twists throughout.  As much as Solange and Claire exercises their dominative power towards one another there is this strong mutual love between them, which Sharp and James tenderly and calmly shows.  A provocative production raising various themes, ranging from sociology to psychology, certainly challenges one’s mind with no simple answers guaranteed.  An enjoyable production which keeps you on the edge of your seat from the tense beginning to the abrupt end!

Avocado - West Yorkshire Playhouse, Leeds (On behalf of The Public Reviews)

This review was originally written for The Public Reviews and the link can be accessed here.

Photo Credit: Anthony Robling

(Accessed from http://www.thepublicreviews.com)

Eve Ensler, an award winning playwright and author of The Vagina Monologues, presents her world premiere play, Avocado, at the West Yorkshire Playhouse.  The short play is part of the theatre’s popular Play Pie & Pint series.

The West Yorkshire Playhouse, who works with asylum and refugee communities locally and regionally, commissioned Ensler to write Avocado which offers the opportunity to look at issues of concern such as human trafficking, forced servitude and slavery and journeys which many female migrants face today.

Rebecca Grant performs this one woman play which echoes the playwright’s feelings of these issues.  At the beginning the audience is asked to close their eyes and imagine what is like not remembering exactly where they are and everything that is held dear has slipped away.   Grant plays well the young woman very intensely and dramatically and portrays a lot of emotions including conscription of fear to sheer frustration.  The “container” is the existence which the young woman travels in and shares her experience in being a victim of forced slavery and prostitution.  Many women are experiencing a similar plight today after being tricked in believing that they will have a better life.

The stage is very dark with next to no lighting which reflects metaphorically the plight’s horror with Mic Pool’s dramatic and circumstantial soundscapes giving maximum effect.  There is crucial lighting, however, to reflect some hope and trust in humankind that she hangs on to.  There are references to “Angels dancing to water” and symbolically the softness in babies and avocadoes, rotting amidst her in the “container”, representing the maternal links and the yearning to be loved.

The “container” is the “box” chosen which offers escape towards asylum and potential freedom. Ensler sums up this choice from a line in the play:

"This is why I chose this box.  Why I got in.  Why I chose this cage over the cage of being caught"

A panel discussion with a question and answer session takes place afterwards with experts sharing their thoughts about modern slavery and what drives it and looking in broader context, asylum seekers and refugees and migration in general.

Mark Rosenblatt delivers a highly recommended, hard-hitting and very thought provoking play where crucial issues are addressed particularly in the asylum and refugees communities, which certainly challenges existing perceptions.

Pride and Prejudice, Crucible Theatre, Sheffield

Pride and Prejudice

(Photo Credit: Johan Persson) 

(Accessed http://www.sheffieldtheatres.co.uk)

This honest retelling of Jane Austen's classic is told in Sheffield to a very appreciative audience.  Lez Brotherston, a renowned designer, ensures the staging is 'resonant of the situation that the Bennet family find themselves in'.  The painted romantic landscape, serving as a backdrop, depicts the daily life the Bennets lived and commuting by foot across the fields was commonplace.  It certainly challenges perceptions one may have about how the story is told and set by watching other adaptations.

The production is unique for its contemporary movements and choreography throughout. Certainly important as much as the talking dialogue.  Tamara Harvey describes so that the audience is entertained as much as being aware of how relevant today. Love, money and class are quintessentially familiar in many societies worldwide.

Scott Ambler, renowned for his involvement with Matthew Bourne's productions, is keen to embrace humour and imagination; the performers, particularly Grace Chilton's Mary Bennet, demonstrates the non verbal activity for telling this classic successfully with the smooth running of the performance and there no prolong pauses with the scenes transitions.  Much more a creative process than an adaptive one.

The cast performs extremely well portraying the unique characters from Pride and Prejudice.  Performers which stand out are Isabella Laughland's quick mind and witty Elizabeth Bennet; James Northcote's dark and unassuming Mr Darcy; Howard Austin's quintessential Mr Bennet and Michele Austin's larger than life and excitable Mrs Bennet -all supported by a dynamic and exciting cast.

Pride and Prejudice sums up:

"IT IS A TRUTH universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife"

These words are echoed at crucial stages in the performance,  Playing at Sheffield's Crucible Theatre until 6th June 2015.

Anna Karenina, West Yorkshire Playhouse, Leeds - Opening Night, 9th May 2015

Anna Karenina at West Yorkshire Playhouse

Photo Credit: Jonathan Keenan

(Accessed from http://www.wyp.org.uk)

Leo Tolstoy's Anna Karenina comes alive on stage at the West Yorkshire Playhouse in Leeds. The theatre's joint production with The Royal Exchange Theatre, adapted by Jo Clifford and directed by Ellen McDougall, is staged in the round.

Anna Karenina's biggest wish is to be happy but like many women she has to live, though comfortably, in a predominately masculine society and adhere to what is expected of her. She fights for her desires and independence throughout and follows her heart by falling in love with Vronsky.  

Powerful and convincing portrayals of Anna and Vronsky are given both by Ony Uhiara and Robert Gilbert respectively.  They perform collectively the passionate love shown between both the characters and convincingly project the emotional roller coaster expected from the story.

John Cummings plays Levin extremely well; he demonstrates to the audience how he's finds difficulty in establishing a presence and finding love in a rich and poor divided society in 19th Century Russia. Tolstoy wrote this novel bearing in mind the social inequalities raised which suggests the eventual country's revolution in 1917.  Clifford wants to focus on the story's three main characters and look at the social context then and how this affects many today in similar situations.

Joanna Scotcher's in the round staging is simple with a railway track running through; the railway is the centre point for re-enacting the plays scenes with versatile stage and its related props.  An excellent production performed by an exceptional cast and supported by a talented creative team.  Anna Karenina is playing until 13th June 2015 at the West Yorkshire Playhouse.

The Rolling Stone - West Yorkshire Playhouse (On behalf of The Public Reviews)

This review was originally written for The Public Reviews and the link can be accessed here.

Photo Credit: Jonathan Keenan

(Accessed from http://www.thepublicreviews.com)

The Rolling Stone, a Royal Exchange Theatre production, comes to the West Yorkshire Playhouse.  The play begins with harmonious singing by the six member cast which sets the context.

Dembe and Sam are in love and often spend their time together at the lake.  The scenario shows them care free and innocent until a comment is made about feeling “watched”, suggesting all is not all well, and their relationship is a lot more complicated than they wish.  The setting is in Uganda where being gay is notoriously condemned (and also illegal), forcing Dembe and Sam’s relationship to go underground and be kept a secret.

The title of Chris Urch’s award winning play is taken from a Ugandan tabloid newspaper who are reputed to name and shame men who they believe are gay.  The paper refers to them as “Sodomites” and the publishing of such pictures leads to devastating consequences.

Dembe’s family is more the reason why his relationship with Sam must be secretive.  His brother becomes a pastor and regularly condemns homosexuality in his church sermons.  Disturbingly, suspicions are made about those “missing from the church” and the chilling comments made about the “epidemic rise in homosexuals”.   The churches pastors have been the main players in supporting Uganda’s Anti-Gay Bill, from 2009, and this has created a homophobic and fearful culture in the country.

There are strong and moving performances given from all the cast members.  The complex character of Dembe is played very well by Fiston Barek who is torn between what is expected of him by his family and being true to himself.  Robert Gilbert’s Sam, whose confidence, wit and charm makes the couple uniquely in love, is what Gilbert successfully carries out.  One must admire the Sule Rimi’s powerful Pastor Joe who intensely demands full attention and interaction from his church’s congregation.

The singing and music, under the direction of James Fortune, is harmoniously beautiful and certainly creates the appropriate moods and emotions in each of the scenes, while Dave Norton’s soundscapes build up the tense atmosphere throughout the performance.  There are smooth transitions between the scenes with the support of Joanna Scotcher’s simple staging and spacing and Richard Owen’s lighting.

What Dembe and Sam go through is echoed by many in similar situations in countries where homosexuality is still illegal and punishments are enforced.  Being gay, however, will always be met with discrimination in the world (whether illegal or legal), as Sam points out to Dembe. Although gay rights have come a long way; it is evident and clear more work still needs to be done in educating and raising awareness particularly in families, especially after seeing Dembe’s family’s loyalties being tested in fearful circumstances.

This production certainly raises more questions than answers, as shown from the characters’ uncertainty at the end of the play.  The Rolling Stone is excellently well written and powerfully thought provoking both socially and politically.

Runs until: 23^rd May 2015

2's Company, A Mini Theatre Festival, Harrogate

 Image credit:HarrogateTheatre  

(http://www.harrogatetheatre.co.uk)

2's Company is returning to Harrogate for its fifth year! A theatre company known for its small, intimate and personal theatre adventures.  They previously performed at the Edinburgh Fringe Festival and from 24th-30th May 2015 the company will present their productions to a few unique venues across the town centre.  

 Images credit:HarrogateTheatre  

(http://www.harrogatetheatre.co.uk)

At Hales Bar, in the town centre, Early Doors (presented by Presented by Not Too Tame will be shown in a pub to an audience alongside pub regulars.  It's about a brother and sister who opens their family pub after inheriting it from their mother who sadly passed away.

 Image credit:HarrogateTheatre  

(http://www.harrogatetheatre.co.uk)

Personal and interactive Somebody I Used To Know explores how technology connects with another in extraordinary circumstances and is performed to a one person audience.

 Image credit:HarrogateTheatre  

(http://www.harrogatetheatre.co.uk)

There is an invitation to join two strangers on a journey in The Fixer, created by Brad McCormick.  This takes place in a moving vehicle, Renault Clio, which will travel round Harrogate.  Certainly immersive, a test of self and others, and fast paced! 

 Image credit:HarrogateTheatre  

(http://www.harrogatetheatre.co.uk)

Live and imaginative Room is a 25 minute performance which involves a blindfolded and seated member audience.

Certainly a unique theatrical experience - very different from being at a conventional theatre! Limited tickets for the productions will no doubt sell fast so best get them sooner than later via Harrogate Theatres or call their box office.  Further information about the productions including dates, times and venues can be found on the theatre's website.

Guardian's Lyn Gardiner says 'it's perfectly formed festival of small'  and offers up and close theatrical experiences to the performers and performances.




Dawn Smallwood
On behalf of Local Theatre Blogging Community
May 2015

Northen Ballet: Mixed Programme (On behalf of The Public Reviews)

This review was originally written for The Public Reviews and the review can be accessed here.

Photo Credit: Emma Kauldhar (Accessed from The Public Reviews (http://www.thepublicreviews.com)

Award winning Northern Ballet begins their mixed programme with Jonathan Watkins’ Northern Trilogywhich was created for the Northern Ballet’s 45^th Anniversary Sapphire Gala in March 2015. The work celebrates the Northern spirit and its traditions in monologues.  It is reflective with Stan Holloway’s abstract and comical audio which the dancers interpret to.  They physically share how a ‘Yorkshire Puddin’ is made; celebrate Soldier Samuel Small’s Birthday; and relive seaside tales of Albert and his fateful encounter with a lion. The audience no doubt is familiar with the dialect and the northern references with locations such as Ilkley Moor and Blackpool.

Following Northern Trilogy is Daniel de Andrade’s Fatal Kiss.   Astor Piazzola’s Otoño Porteño is chosen for this piece. The story is about a man who reluctantly comes to terms with meeting his death, through a kiss, in Buenos Aires. The Pas de Deux is danced dramatically and provocatively, as is Piazzola’s music in a form a tango, which is danced beautifully and passionately by Lucia Solari and Javier Torres.

Little Monsters is based on three songs by Elvis Presley including Love Me Tender and Are You Lonesome Tonight? Two dancers, Dreda Blow and Joseph Taylor, physically explore and emotively express the joy of falling in love to the pain of separating when the lovers go their separate ways. There are some excellent close, synchronised and parallel movements in the dancing linking with Demis Volpi’s choreography.

The classical Perpetuum Mobile is danced to JS Bach’s Violin Concerto in E Major. The place does not have a narrative structure as such instead emphasis on the composer’s music.  Christopher Hampson wants the focus shifted on the composition by creating and layering the movements in the ballet.  There is a continuous flow of physical movements by the dancers with no pauses throughout; instead an overflow of dances appearing from the stage’s wings covers the music’s section from one stage to another.  The dancers are certainly ‘lost’ in Bach’s concerto including the music’s tempo as shown in the dancing.  A reflective and beautiful piece of work blessed with imaginative choreography.

The final piece is Kenneth Tindall’s Architect.  This contemporary work is inspired and based from the biblical story of Adam and Eve. The clever use of Alastair West’s lighting and Christopher Giles’ staging are used to narrate Adam and Eve’s existence in the Garden of Eden from the creation element, eating of the forbidden fruit and to their fateful ends.   A variety of music from Zoe Keating Remix, Olafur Arnalds, Kerry Muzzy and the Balanescu quartet is played and danced by the company artists who interpret the story’s stages with thorough connectivity, synchronisation and intricacy.

A well chosen diverse programme and one has to admire the breathtaking, soft and colourful lighting and staging used for the works.  Five pieces represent the contemporary world and existence one lives in and yet it beautifully and significantly connects with one’s spiritual and emotive reflections.