Stags

 

            Stags, by Cameron Corcoran, marks my return to live theatre after Covid 19 closed London's theatre industry in March 2020. It was certainly a good return.

            Set in the home of a working class family in Dublin, Ireland, we explore the relationship between two estranged brothers, their absent mother, and their father who sits dead in his armchair. Maybe not everyone's choice for a 'Welcome back to live theatre after a year' kind of show, but then I'm not everyone. 

            The show is an Off Main Stage production, who are a theatre company consisting of writers, directors and actors who are "committed to bring real life stories to the stage" and who "aim to give a voice to issues that are not given their due in todays world". The theatre, Network Theatre, is a little hidden gem in London. And i mean hidden. Down what can only be described as a service road/tunnel inside Waterloo Station, its a theatre that not many avid London theatre goers even know exists. With a usual capacity of around 70 (currently due to Covid restrictions reduced to a maximum capacity of just 50%) it is a really intimate space. Perfect for a show such as Stags, where as an audience we are just a fly on the wall.

            The set is simple and sparse. Black walls and a black floor, with a few well positioned props and set pieces to imply the location. I'm not the biggest fan of such sets, however for such a small theatre it is perfect and allowed the story to shine through. With deep seated hatred, resentment and jealousy, this pressure-cooker of a play has comedic moments that perfectly break the harsh realities of what's unfolding in front of us.

            The two brothers have an uneasy relationship. They share parents and they were both mentally and physically abused by their father. That's where their similarities end. One, Tony, has become a teacher and made something of his life. The other, Conn, has just been released from prison after seven years. Conn hates him for leaving him alone with their father. He is also of the belief that Tony thinks himself better than and above him. That he resents his upbringing and doesn't acknowledge where he comes from. This is undoubtedly true, though one can never truly forget and/or be unaffected by ones upbringing and childhood experiences. This becomes all to clear in the plays final moments.

            A gritty portrayal of the Irish working class, of broken family dynamics and of relationships. At around an hour in length, this is a brilliant way to reintroduce yourself back into live theatre after their Covid closure.

Stags is running at the Network Theatre until May 22nd

For more information, or to book tickets, please click here.

Theatre Is Open Again!!

 Well it’s been over a year since theatre closed. If, like me, theatre was a major part of your life this has been a stressful and uncomfortable time. Not just because of everything going on, as horrid as it was, but because theatre give us a chance to escape. A chance to be some one other than ourselves. A chance to explore. A chance to learn. With theatres closed none of this was possible. 

But with the relaxation of Covid 19 restrictions in England, I am at last able to get excited to see live theatre again. I can’t begin to explain just how happy this makes me and how much I’m looking forward to exploring what treasures (and probably also some flops) await me in 2021 and beyond. 

Eigengrau

          So, Eigengrau, what does it mean? Well, its defined as 'the colour seen by the eye in perfect darkness'.

          I was invited to the press night of this production and I must admit I knew absolutely nothing about it, even that the plays title was a real word. I also didn't do any research as I wanted to go in with completely fresh eyes and without any pre-conceived ideas. Eigengrau, by British playwright Penelope Skinner, was first performed in 2010 at the Bush Theatre were it was met with critical acclaim. This production has been produced by Dark Skies Theatre, as a response to the British government starting the 'Lets Talk Loneliness' campaign in June, which is designed to try and tackle the stigma of loneliness.

          The play sees four young people in their 20s thrown together. In their struggle to find their places in the world amongst the chaotic backdrop of London, they have their beliefs tested to devastating effect. Cassie (Isabel Della-Porta) is a feminist fighting against the patriarchal oppression. Her flatmate Rose (Katie Buchholz) believes in true love and leprechauns. On the other side of London, Mark (George Fletcher) believes in his masculinity and marketing, while his flatmate Tim (Callum Sharp) is forever struggling to find the will to get out of bed in the morning.

          The theatre, Waterloo East, is hidden away in the back streets near Waterloo Station. I've walked around this area many times and not really noticed it there. Like all theatres located in the arched under railway lines, at least all the ones I've been in to, it has an over whelming smell of damp. This is kind of to be expected, but it still something I don't like. I feel very off put. I was glad when I entered that actual auditorium and fount the smell greatly reduced. The theatre space is painted black with the stage completely bare, all except six boxes of various sizes lined up along the back wall. These boxes are moved and rearranged throughout the show to create very simple but effective sets.

          Penelope Skinner's writing is sublime. It really represents the mind of young people, but also the minds of society at large. She writes what we are all thinking, or at least what we presume other people are thinking. Its extremely naturalistic and a very easy style to follow with a steady pace and clear progression of story. Its perfectly complemented in this production by the four actors. They all play extremely well off each other, with no awkward pauses or one actor being better/worse than the others. There acting was as naturalistic as the writing. They were a joy to watch. In such a small space as this theatre, one really got to see them performing their craft in detail, something larger theatres don't give you the opportunity to do.

          I was however slightly disappointed. Not with the show, but with how this show has been publicised. Now I'm not saying this because I'm a man and I want to push my masculine agenda out into the world, but the online material for this show is totally focused on the two female actors. The men get almost forgotten. I know this is a feminist piece and is all about female empowerment. In fact when the show is produced its often marketed with the line 'What does it mean to be a good feminist? What does it mean to be feminist?'. That doesn't mean however, I feel, that the male actors should be left out. The show was partly funded via Crowdfunder.co.uk, an online community were people are able to raise money from the general public rather than through bank loans and/or other lenders. On the page to advertise and promote this show (click here to see) there is no mention of George or Callum whatsoever. It simply says 'Staring RADA graduates Isabel Della-Porta and Katie Buchholz'. I could almost forgive this. Ok, maybe they started this page before they had confirmed the male actors? But then one looks at their official website. Yet they have the pictures of all four actors, and if you hover over the images their names come up. However if you click on the images of either George or Callum you are taken to the pages for Isabel and Katie. You can find literally nothing out about Callum or George, both of whom have been in a number of theatre productions and/or television shows. They are also extremely talented actors and so it seems a discredit to their skills to not have any information about them. 

          That being said, it was a good production. Its wasn't the most enthralling thing I've ever seen, but nine years after it was first preformed its still as relevant as ever. I know form experience how lonely a crowded city can feel. How it can be a struggle to find ones place in the world or to understand your self worth. Yes this may be a piece with feminist undertones, well not undertones they are thrown in your face right from the start, but its a show relevant to all. 

The show is running at Waterloo East Theatre until September 22nd 2019

For more information about the show or to book tickets, click here

The Crown Duel

          I went to see this show on a complete whim. It sounded interesting and was at Wilton's Music Hall, the oldest grand music hall in the world. The Crown Duel is a 2 handed, 70 minuet version of the first two seasons of the Netflix series The Crown. I had high hopes as it's been created by Daniel Clarkson, one half of the successful team behind Potted Potter. It also had a sell out run when it premiered in London at the Kings Head theatre before traveling to this years Edinburgh Fringe. I wasn't disappointed. Its a barrel of laughs from the word go and makes one remember all that's good about theatre. It is also a great example of top notch theatrical timing and an evening full of satire and just being silly. Its also a show that was written specifically with the two actors in mind who perform in it, Rosie Holt and Brandan Murphy. These two are definitely perfectly suited to the roles. Rosie becoming more prominent on the comedy scene and Brandan being someone who regularly appears in Potted Potter.

          Wilton's Music Hall is a lovely venue, with a history that goes back to the 1690s. The sight was originally a number of houses, shops and a pub. John Wilton then purchased the properties and went on to build the Victorian Music Hall as it now stands in 1859. He wanted to provide a first-rate and comfortable venue for the working people of the East End that would rival the glamour of venues in the West End. Since 1859 it has had many uses including a Methodist mission as well as a rag storage unit. Beginning in 2004 it went through steady restoration work which was completed in 2015. The restoration has been very sympathetic to the original features of the theatre. You can just feel the history, It has a feeling as soon as you walk into it, like no other theatre in London. EVERY theatre lover or enthusiast needs to come here at least once on their lives.

          I'm a great fan of The Crown on Netflix, as well as a fan of Potted Potter, so I was interested to see just how this show would present itself. Oh wow is it stunning. Yes there is audience interaction, which long time readers of my blog will know is something I truly do not like, but it seemed to work well in this context. It did go on a little too much though, but I think it helped that I wasn't called upon. There was also a number of jokes which seemed to be repeated far too often, for example the telephone operator being a 'non-speaking role'.

          Rosie Holt really did portray The Queen rather well, showing respect but also making it exceptionally comedic. It helped that the script was more focused of some of the failings of the Netflix series The Crown rather than Queen Elizabeth II life itself. Every one was laughing along to what we know were jokes that were coming from a place of love. Brandan is also great, with perfect comedic timing and an attitude that suits theatrical comedy. He and Rosie play off each other wonderfully, and its an absolute joy to watch. 

          It doesn't matter if you've seen The Crown or not, this is still a show that you will enjoy. You need to be quick though. There are only a few days left, with the show finishing on the 14th September 2019. Get a ticket now. You'll be in for a fun night.

For more information or to book tickets for the show, please click here

To learn more about Wilton's Music Hall, please click here.

Rabbits In The Precambrian

          When I got invited to this show, I was intrigued. It sounded like nothing I'd seen before. The show sees evolutionary biologist Reed (Liam Croker) have his entire view of the world changed by the rumor of a rabbit fossil being found in a Precambrian rock: a scientific impossibility. His partner Jess (Olivia Noyce) doesn't help the situation with her endless stories about death. His colleague Clair (Charis Murray) with her obscure thought-experiments along with her husband Nick (Jamie Patterson) only add to the confusion, all centering around Nick's obsession with the charismatic one-man-cult leader, The Guru (Alexandra Octavia). Reed is forced to question whether rational thinking is really the best way to cope with this unpredictable universe. An interesting and strange description of a show, so you can see why I was intrigued. The fact I once worked at the Natural History Museum in London also means I have some scientific knowledge/understanding that only added to my interest.

          For those of you that don't know, the Precambrian is the earliest part of Earth's history and accounts for roughly 88% of the Earth's geologic time. Relatively little is known about the Precambrian, despite it making up roughly seven-eighths of the Earth's history, and what is known was largely discovered from the 1960s onwards. It spans from the formation of the Earth about 4.6 billion years ago all the way to the start of the Cambrian period roughly 541 million years ago, when hard-shelled creatures first appeared in abundance. A specific date for the origin of life has never been determined, however well preserved microscopic fossils of bacteria older then 3.46 billion years have been found in western Australia and Carbon has been found in 3.8 billion year old rocks from islands off western Greenland which may be of organic origin. However there is evidence that life could have evolved over 4.28 billion years ago. There is a fairly solid record of bacterial life throughout the remainder of the Precambrian. This would mean for a rabbit fossil to be found in rocks that predate mammals is scientifically impossible, and would destroy all our modern scientific understanding of Earth and life as we know it. Thus we have the premise of the play.

          The show is playing at The Front Room in Croydon south London, a space that creates a diverse programming of musical and theatrical performances. The venue states that it is "always striving to find a balance between 'top-class' live quality and accessibility." Located in two converted shops only a short walk from East Croydon station, the outside is fairly unassuming. Metal shutters pulled down covered in graffiti. Inside though is a pleasant surprise. A small yet attractive bar area, that has a very young feel about it, greats you as you walk in. The theare space itself is also small, with a very wide yet shallow stage. It looks very roughly put together, but then the space is used for a variety of activities so a more permanent structure would I assume be unhelpful in the space. The size of the space does however mean there is a very intimate feeling, with seating for maybe 30 people at most. The show is just the second full length production for Wrong Shoe Theatre who have become the resident theatre company of The Front Room.

          Walking into the theatre space as an audience we were greeted by Alexandra Octavia, who plays The Guru, sat on the front of the stage and 'meditating'. The space in darkened with the sound of ethereal music flooding the room, broken occasionally with the sound of waves or crackling fire. This helps you as an audience member become relaxed and calm, engrossed in the atmosphere of this meditating Guru. The show starts, once the lights go down, with The Guru standing up and talking to the audience and explain who she is and what she believes. Alexandra's performance as The Guru was rather over exaggerated, with constant movement of her arms and a general attitude that showed a lack of sincerity and believability to/about her character. I felt it rather over the top at points but then maybe this is what the director Michael Greenwood wanted, though I felt it an insult to the writing. Many lines were lost and lacked the comic impact I'm sure they were intended to have. The Guru is the cross between a drugged up hippie and a posh millennial from Notting Hill. Perfect for the role of the cultist Guru, but as I said it felt a little over the top occasionally. So much so in fact that at times I struggled to understand what she was saying, with unclear diction and melodic talking. I get that this is the character, but one still needs to be able to understand what they're listening to.

          Out of the cast of 5 there were two that stood out for me. This was Charis Murray as Claire and Jamie Patterson as Nick. Charis was extremely naturalistic, grounding her character and giving her a real personality, and an absolute joy to watch and listen to. She interacted well with the other cast members as was always making herself noticeable in the crowd, even when she wasn't a main participant in the scene. Her Scottish twang was calming in an often confusing and complicated mix of scientific jargon and overly long scenes. Jamie Patterson who played the bumbling fool that was Nick also a breath of fresh air. His comedic timing and portrayal of such an idiotic and simple minded man was a joy. Yes a bit over the top, but it was needed. He bought a lightness to an otherwise heavy show, full of moral, scientific and religious themes. These two are as far as I'm concerned already perfectly able to go into more main stream theatre. They know exactly how to fill a stage and realistically portray a character, whilst also having sometimes totally unbelievable or exaggerated characteristics. They absolutely made this show for me, otherwise I would have become slightly uninterested. They were let down by a cast that were otherwise rather monotone in their line delivery along with a lack of realism, which only prolonged the show more. There was a general feeling of the actors feeling slightly uncomfortable with the work and this didn't sit well with me. 

          I must also mention the lighting. For the majority of the show it was neither good nor bad. It suited the show wonderfully. However this wasn't the case for the start of the show when we as an audience are spoken to be The Guru. I believe Alfie Rackley, the lighting designer, was trying to go for a hippie like feel being almost psychedelic, however it was more confusing and distracting than anything. It seemed like the lights was changing every thirty seconds. Just some soft lighting with maybe a pinkish or bluish glow would have done. I was worried the whole show would be like this, but I had no need to be. 

          I'd like to say that the ending came out of the blue and was shocking, however that would be untrue. I hadn't predicted it totally correct, but it certainly wasn't a surprise. In no way does this mean the show failed at all, I just like for shows to keep me on my toes and this didn't happen this time. Also the ending seemed rather abrupt. It left questions unanswered and left me more confused than I had been at the start. The writer, Josh King, has a lovely writing style that is realistic and that has a lovely overall flow. This piece may need some extra tweaking for it to be perfect and I'm sure Josh has many good stories up his sleeve. The show has much potential, though I feel it was rather lacking with with production.

The show is running until the 15th September. For tickets and info, click here.