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.

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

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.

CAMP

          A Lesbian, a bisexual woman and a gay man walk into a bar ……. well, they walk into the theatre space above it. I was very much looking forward to this show as the concept sounded interesting. "Join Felix, Becky, and Mary as they attempt to learn what we were never taught; same-sex-sex-ed, voguing & queer history. Do you have what it takes to get your GAY-CARD?". I was immediately intrigued. How could I say no to their invitation to go along? As someone who is part of the LGBTQIA+ community, I wish as a younger person I'd had lessons or been made aware of the communities history. I had to do the research myself, either on purpose or finding stuff completely by accident. Oh, interesting fact. The county with the second highest readership for my blog is Russia, so it will be interesting to see how this post does. Haha. 

          This show was at the Lion and Unicorn Theatre. That's twice in two days. I arrived slightly earlier as I knew I like the environment of the pub, and so I was able to relax before the show. As was the same when I went to see The Cardboard Kitchen Project, once the audience was let in we had to wait for maybe two minuets before the show started. I love it when I'm not sat down and made to wait for ages. Once again thought he theatre space was boiling hot. I felt so sorry for the actors. My view was also partially blocked by the people in front as the seating is mostly on one level. From the word go, the show throws you into the deep-end of queerness. I think one needs at least a little queer knowledge to actually enjoy this show, and I think this is the point. The show is full of references to queer culture. I think I got almost every reference, well at least I think I did, and I wont ruin anything in case anyone reading this goes to see the show.

          The show started a little slow, but gained speed exceptionally quickly. The three actors were very relatable, with all of them taking one or two different roles. As the only man in the cast I related heavily to Felix, played brilliantly by Nicholas Marrast-Lewis. There were so many of Felix's characteristics that reminded me not only of myself but EVERY gay man I've ever met. It was just a shame that Nicholas stumbled over one or two of his lines, but it didn't really cause much of an impact. Fizz Waller was also brilliant as Mary. She was extremely comedic yet had just the right amount of realism. She was probably the most interesting of the characters, in no small part to how Fizz portrayed her.

          There was however something that any reader of previous reviews will know that I hate. Audience interaction/participation. This wasn't too bad, with a little gay quiz thrown in part way through. It seemed totally out of place and unnecessary, but was at least interesting. There was another moment of interaction and that was the audience being asked to Vouge. again, it seemed very out of place. This was the bit I hated most, and thankfully I wasn't dragged up on stage to do it.

          It is not only funny, but has a couple of hard hitting messages. Firstly, Bisexual people are often discriminated against from within the queer community. They are often told they are 'going through a phase'. Gay people think they aren't ready to fully come out as gay, and straight people just get confused and call it a "phase". The second issue they picked up on was discovering your sexuality later in life. This is something lot of people within the LGBTQIA+ community struggle with. Many older people have, for whatever reason, been unable to be their authentic selves until they've settled into life. This can make coming out a scary and unnerving situation, to suddenly been thrown into a world completely different to the world you've been living in for years. Lastly, the show talks about the expectations within the queer community. What you should know. If you don't, then you are harshly judged. I've made it a mission of mine to research queer history. I feel I owe it to all the people who came before me. For all the people unable to be their true selves. For all the people who had to hide in the shadows. For all those who lost their lives. I try really hard to educate myself so I can educate others. This show tries to put a lighter spin on that, and so I must be grateful they are trying to get that message out there.

          A bit of light hearted fun, bit with a completely serious message. You don't need a 'Gay Card' to be a good member f the LGBTQIA+ community, but you should at least know a little of the communities history. The show is playing on August 21st, 22nd and 24th 2019 at the Lion and Unicorn Pub in Camden.

To book tickets or to find more about the show, please click here

The Cardboard Kitchen Project

          I was intrigued when I was asked to review this show. A cardboard kitchen? I went along hoping for something interesting and new. However I'm sorry to say I left rather deflated.

          The show is on at the Lion and Unicorn Theatre as part of the Camden Fringe Festival. The theatre is above the Lion and Unicorn Pub, a lovely modern pub on the corner of a quiet residential street. Away from the main hustle and bustle of Camden. It was so relaxing I was glad I had time to take in the pubs atmosphere before the show. Not to mention it has a lovely little pub garden. anyway, the theatre itself is like the majority of pub theatres in London. Upstairs and small. It was also surprisingly warm.

          I sat three rows from the front and realised something annoying. The seating is all on the same level. Well some seats further back are raised by maybe two inch but not enough to make any difference. This means you struggle to see the stage, which is just part of the floor. I knew this would likely be a problem, but I don't know the show so I might have been wrong. I wasn't. She sat on the floor for what felt like half the show. I dread to think of the poor people sat at the back of the audience. What exactly could they see? probably the head of the person in front of them and some disembodied voice complaining about the husband she left in Singapore. 

          Varshini Pichemuthu, a recent graduate from the Royal Central School of Speech and Drama with a masters in Applied Theatre, was the actress in this show. She has a wonderful voice, so I was looking forward to listening to it for an hour or so. I was unfortunately disappointed however with her overall performance. Towards the end, as the show was progressing, she seemed to relax but this was certainly not the case at the. She had been very robotic and there was nothing naturalistic about her performance. I couldn't believe a single part of it. I also feel the show was maybe half an hour too long. There was a lot of filler. going over the same material multiple times, or using the same 'gag' such as trying to put the cardboard kitchen together.

          Maybe the issues I had with the show were with the writing rather than the performance, but either way I felt it was just far too long. The story was there, but not very developed and this didn't help in keeping my concentration. It just dint go anywhere. Its always a bad sign when I keep looking at my watch. the director has called it a "really relatable story around a space in our lives that we don’t often think about." Now I tend to think about my kitchen a lot. Its the heart of the home. when there are gatherings its where much of the time gets spent. It needs to be practical but also be friendly and inviting. This made the story totally unrelatable. I still don't understand why she was sent a cardboards kitchen. How's that going to make her feel any better or make her want to spend more time in the kitchen. I just don't get it.

          I'm sorry to say I was left disappointed. I can see it has potential, but it really needs to have some drastic work done to it.

FORM

          FORM is a show from theatre company Rendered Retina. Using 20,000 paper balls, the show takes audiences on a hilarious and moving journey of one man's attempt to escape routine, to wonderful worlds and whisk you away on a visual voyage. This show uses no spoken word (except grunting), physical theatre, clowning/mime all of which is nicely pushed along with original music.

          When I was invited along to see this show, I was rather excited. With a concept that sounded interesting and at a theatre I'd never been to before (the Camden Peoples Theatre) I was waiting with anticipation for the show to start. It won 'Best Show' at Paris Fringe 2018 and was the winner of the Les Enfants Terribles Award 2017 so I had high hopes going into the theatre.

          I wasn't disappointed. Its not an over exaggeration to say I think this is some of the best pieces of theatre I've ever seen. The three performers, Tom Mangan, Alex Mangan and Jordan Choi have such great chemistry and energy together. They complement each others performances perfectly, bringing just the right amount of energy to the show. The relationship and trust they've built over the 11 years they've known each other is all too clear, with the production running like a well oiled machine. 

          I was transfixed throughout, unable to look away. In fact the whole audience was engulfed by the brilliance of this show. We were all completely silent except for the moments of laughter we collectively experienced out of pure joy from what we were watching. An imaginative show that took as all along for the ride, bringing us as an audience into their world. And what a world that is. I didn't want to come back to reality. The 20,000 paper balls were used brilliantly to push along the story and act as a base for every scene. With the entire stage being used there was never a dull moment. They all use their bodies and faces very expressively, and even though they don't talk you know exactly what their characters are thinking or how they are feeling. Yes, sometimes the facial movements can be a bit over the top, but in a way that added to the show rather than distract form it.

          I know this is a rather short review but I really cant say any more. There is nothing to criticize (other than the fact the waiting area at the theatre is rather small). It was simply perfection. If you have the time, you MUST see this show. I will certainly be interested to see how this theatre company develops and to see what they do next. They say on their website "We want our work to leave lasting images with those who see it." They have certainly achieved that with me.

For more information about theatre company Rendered Retina, click here
To find more information and/or book tickets for FORM (at 2019 Camden Fringe), please click here

Come Fly With Fred

          Come Fly With Fred was inspired by many honest and moving interactions with London’s homeless community, and created with the hope to shed light on the rollercoaster life thousands live everyday and make you chuckle along the way. For the show, one joins Fred on his daily search for friendship in an explosion of circus, spontaneous puppetry beat-boxing, break-dancing physical comedy and original spoken word. I was intrigued to be invited along to see what this show was all about.

          I saw this show while it was on at The Space on the Isle Of Dogs, London, a theatre space I've been to s few times before. As I've said before, its an interesting space in a converted church. It also has a reasonably priced bar/restaurant above it though this has very limited space.

          Come Fly With Fred is part of the Send in the Clowns Festival, a fortnight of foolery showcasing the best in clowning and physical comedy. It was also part of the line up for the 2019 Camden Fringe. There was seating for just 28 people (less than the theatre space can normally hold) and I'm sorry to say even then it wasn't full. The stage was also virtually empty, with just a blue bucket to one side. I sat down and looked through the information I was given upon entering the theatre. I saw three words and my heart sank. Continuous audience interaction. I hate audience participation/interaction at the theatre. Sometimes it can be ok, maybe in an improve show someone shouting a theme or theatre style. Actually the majority of productions at Shakespeare's Globe have some form of audience interaction and they do it brilliantly. For the most part though as soon as I see audience participation my heart sinks. I go to the theatre to be entertained by actors/performers. I don't come to the theatre to be part of the entertainment myself. That's why I'm in the audience and not on the stage.

          My overwhelming feeling while watching this show was that of awkwardness. I know the subject of homelessness was bound to be slightly awkward, however the room was overwhelmed by that feeling. It didn't help that the majority of the show was silent with the exception of the odd strange sound made by the performer, Lucas Bailey. This meant for most of the time the theatre was in complete silence, creating a feeling that wasn't the most comfortable. This may have been the intention, however it was far too overpowering for me to be fully engrossed in the show. Saying that, Lucas was a very talented performer having a plethora of skills that he made a point of displaying, from juggling to beat-boxing. His skills though couldn't break the awkwardness though. There were however funny moments in the show, but even these didn't save the show for me.

          There was a moment of spoken word, and this was the most powerful and emotive moment of the show. I would much preferred the show to have consisted mainly of this as I feel it could have been far more impactful. I also was taken by how quickly Lucas was able to change between different states of emotion and mental stability.

          This show is meant to make one think about the holes community and the struggles they go though in their lives on a daily basis. One moment however failed in this endeavour massively. Towards the end of the show 5 members of the audience were invited up on stage to take part in what can only be described as a human band/orchestra. The only assumption I can make is they were representing the different noises of London, that can often become be the metronome to a homeless persons life. After a while each member of this human band was then given a hat to ask the audience for money, like many homeless people do on the stress every day. This was clearly meant to be a moment where they were meant to feel the awkwardness of how this can often feel. Most of them however took it as a complete and utter joke, fake crying and making it into a piece of overacted comedy. In fact making the audience laugh at this poignant moment. I found this wholly disrespectful to not only the piece itself but for the performer wo for the past 35 minuets had pout his all into trying to make is feel a specific way.

          The shows ending was powerful, with Lucas sat alone at the back of the stage with his hat on the ground as though asking "can you spare some change". The reality for the majority of the homeless community. He then proceeded to go through the actions of getting ready to spend a night sleeping on the streets, with a clear emphasis on this being a scary and often dangerous experience for many in the homeless community. The powerfulness of the ending and of the spoken word however failed to redeem a piece of theatre I found mostly awkward (and not in the way I assume they intended). It could have been so much more powerful and I left slightly disappointed.

(I was struggling to give this either two or three stars, but I had to make a decision as I don't do halves)

For more information about Come Fly With Fred, please click here

For information about the homeless charity Centre Point, please click here 

Man Number Five

          This show, which will be at Edinburgh Fringe from the 19th - 24th August (2019), promotes itself as a one woman show exploring 'themes of romance, consent, sex, comedy and women'. It also says that the rise of the Me Too movement makes this piece highly relevant. I was intrigued when I was invited along for a preview performance. 

          I unfortunately must say I was slightly disappointed by the performance. The preview took place at Ram Jam Records, a lovely award winning live music, comedy and theatre venue in Kingston Upon Thames. In fact it is the only pub theatre space in Kingston. It has a wonderful atmosphere with lovely background music playing from the moment I entered, with the soft glow of candle light. It refers to itself as "Kingston's best kept secret", though I'd say maybe it was even London's. I would go so far as to say its one of the nicest pub theatres I've ever been to, seating just 60 people in what it refers to as 'Jazz club style'. I was shocked to find just 8 people were in the audience for this show, one being the director and two being the actresses parents. I decided I shouldn't let this formulate an opinion in my head before the show started, but I wasn't overly impressed after it was over.

          The work portrays the real life story that leads to the writer and actress, Julia Bentley, being sexually abused. She says she was desperate to release something that had held her back for so long. I know that this piece was probably exceptionally hard for her not only to write but also to perform. I in no way want to diminish her experiences or how she may have felt at any given time, but I need to look at this objectively as a piece of theatre.

          Julia performs the piece perfectly. She displays pain, anger, confusion and lust spliced with comedic moments of joy. She really portrays the conflicting inner most thoughts of a women exceptionally well. Not that I'm overly familiar with these thoughts seeing as I'm a man. The show felt exceptionally disjointed at the start, and I found it hard to follow. It was setting up the situation and character, but it was done in a very confusing way. After a while the show, and Julia, got into the flow and I began to be able to understand the show a lot better. She exposing the sex positive attitude of modern women and stamping all over the term 'slut shaming'. Why cant a woman date multiple men at the same time? "You need to have five men at any one time - one for ever weekday". Different men fulfilling different needs but being just as annoying and complicated as each other.

          Julia is currently studying a BA in Acting and Contemporary Theatre at East 15 where she says her passion for writing has been ignited. I'm sure with a little improvement and finding her true voice her writing will massively improve. At the moment though, its very obviously a piece written by someone fairly green in the writing world.

          The more I settled in the more I understood what was happening and how things were going. I just think the writing needs some more development. Saying that though, the ending was phenomenal. Its just a shame it could all be that way. The last five minuets or so were full of raw emotion that was exceptionally hard hitting, very moving and brutally honest. I felt her pain, anger and confusion. The girl with the power becomes powerless. Just as you have been beaten by the emotion and left in shock, Bentley askes the question; "When did no become a turn on? No. That's not sexy, right?"

          Overall a competent piece, though I feel the writing needs a little more development. An exceptionally poignant work that I feel is coming at a time where women are feeling more empowered to speak out about their experiences. I'm sure this will be one of the most emotionally shocking pieces of theatre at Edinburgh Fringe this year, and I wouldn't be surprised if its one of those pieces people cant help but talk about.

You can find out more and book tickets for the performances of this show at Edinburgh Fringe, here.

For other 2019 Edinburgh Fringe shows and performances here.

Mouthpiece

          I'm in two minds about Soho Theatre. Its a nice theatre space, thought the foyer is extremely small and the bar gets very busy. This makes the time waiting to be let into the theatre itself rather annoying/awkward. Soho Theatre has three performance spaces; Soho Theatre, Soho Upstairs and Soho Downstairs. By having these three spaces, it means multiple shows are able to start at similar times, which only adds to the overcrowded and cramped conditions of the waiting areas. Staff are always lovely, and do the best they can in the conditions in which they have to work. As I said, the theatre itself is lovely. The seats in the main theatre space are a little close to one another, though overall its a good environment to watch theatre. With roughly 150 seats the theatre has a wonderful intimate feel, and the seats have a good enough rake that views of the stage aren't impaired. This means shows like Mouthpiece can really grab you by the scruff on the neck and shake you about.

          The show started slightly slow and didn't grab my interest from the start. However, by the end I was hooked. I was committed to the story, and was interested to see where it led. The performances by Lorn Macdonald and Neve McIntosh were brilliant, and I was convinced they were real people. With histories, lives, troubles, dreams and aspirations. The set, or lack there of, didn't distract from but only enhanced the bleakness of the story. This was an extremely clever choice by the designer Kai Fischer and director Orla O'Loughlin. The play has been exceptionally written by the Scottish playwright Kieran Hurley, probably most known for his award winning play Beats (which was also performed in the Soho theatre back in 2013).

          The show was hard hitting and emotional. Not something I always enjoy but I was so in the mood for it on this occasion. A lot of the time I just want something light and fluffy, but this time around I was in for something that just punched me in the stomach. This didn't disappoint. Mouthpiece is one of the most honest and true pieces of theatre I've seen in a very long time. It brings up important messages of lack of support there is for those considered destitute of in the lowest section of society. It shows how manipulative society and people can be. But it also, in some small way, gives hope that with just a little support people can flourish and prosper. Now the show rips this to shreds, but the original message in no way gets lost.

          Kieran Hurley has gained a new fan. I'm very much looking forward to his future projects, including a new film based on his play BEATS which is to be released later this year. Interestingly the film stars the actor from this show, Lorn Macdonald.

For more information and to buy tickets, click here.