The Red Balloon Puppet Show Review

I think it is safe to say whilst puppetry is having a renaissance, there isn’t a whole lot of marionette work being done. The Red Balloon is a delightful exception and has been touring nationally with a lovely, simple and gorgeously visual story about a boy and his balloon.

Presented and adapted by String Theatre from the Albert Lamorisse film, they provided a window into another world by creating a small marionette theatre within the much larger Norwich Puppet Theatre stage. It worked a treat in captivating little ones and adults alike and the focus was intense upon the little stage and the characters that danced (and floated) within it.

Accompanied by an emotive soundtrack these puppets did not communicate with words but instead the story was performed with a beautiful visual language that helped create an immersive world for the story. In terms of the puppets used, marionettes proves a great choice in terms of creating the balloon ‘character’ – there were no hands in the way of its flight and as everything else was also strung it worked perfectly in the world of the play. It was also a real treat to see the craft and the practice behind the performance of such a work, using such a form. From what I have seen of the film, it is shot quite expansively but this piece really worked in how it was shrunk down. The little puppets were incredibly expressive and the performance was enchanting.

The Red Balloon is not necessarily an uplifting story, there are real moments of sadness within it and these shone in this adaptation. There was though, enough playfulness to engage the smaller children and the theatre was full of a very moved and satisfied audience by the end of the show. There is certainly something very identifiable about a small boy and his love for a red balloon.

Dogs Don't Do Ballet Puppet Show - Review

Dogs Don’t Do Ballet by Anna Kemp and illustrated by Sara Olgilvi is one of my favourite books. Working as a bookseller in Melbourne I hand sold many copies of this beautifully illustrated, beautiful story. It’s gorgeous, it’s fun and it has a great message. When I first heard it was being adapted for the stage my heart sank. There is a building tradition for theses sorts of adaptations and occasionally they translate wonderfully but often they don’t.

I saw the puppet show on tour at the Norwich Puppet Theatre and I can reassure you that it was well worth it. It was gorgeous, well performed and the spunky very two-dimensional illustrations danced into a great three-dimensional puppet Keith Frederick’s puppet world very nicely. (No awkward Angelina Ballerina giant mouse heads here). Biff, the dog in particular was adorable. The creative team David Duffy and Andrea Sadler in conjunction with The Little Angel Theatre have produced a

I would say that as with every adaptation it was a fine line between adding in more content and working with what you’ve got. In expanding the role of the dance teacher, we got excellent audience interaction but it did move away from Biff and Anna as the central characters a little bit. My favourite sequence of the show was lifted directly out of the book – where Biff follows Anna to her ballet class. It was done so cleverly and so well that it won me completely over. Tim Sykes’ set at this point was also transformed wonderfully, so it was visually engaging as well as using the original story effectively.

This puppet show deserves its acclaim and success and the little ones in the performance were held captivated for the entire show. I also though hope it encourages people to return to the book, because it still remains a favourite of mine and it will hopefully continue the magic of the show beyond the stage and into the imaginations of many little ballerinas.

Dogs Don’t Do Ballet is bound to pop up again, so make sure you see it when it does.

Bread And Roses Theatre Company The Platform - Review

The Platform – A Page to Stage Workshop or New Writing by presented by the Bread and Roses Theatre Company is rapidly growing as one of the strongest short work platforms in London. They are consistent in both quantity and quality and with this being the fourth successful one it looks set to continue for a good while. 

As the opening play, Johnny Did Not Come Marching Home by Sharon M. Andrews fitted very nicely. It was serious, dramatic, but at a length that did not completely overshadow the tone of the evening. It was well performed, and there is certainly great potential in the situation and the story of those left behind at home during WWII. It did feel that there was a lot going on in the script which might work better as a longer work, rather than a complete short but even as it was it packed a proper emotional punch.

Following the drama of the first play Just Desserts by Will Howells is a monologue that on the surface is amusing. Joanna Greaves was very engaging as an ‘after’ rather than a ‘before’ – a woman who used to be so out of control with her weight that when she loses it her life and loves spins away from her. 

Skeleton by David Payne concluded the first half of the evening. A slightly longer work, it was programmed well at this point in the Platform. It was a very tight two-hander between a mother and a daughter over lunch. In some ways a strength of this piece was in the ellipses and what was left out, I do think however that further exploring the relationship in a longer work would be interesting – and also give more space for the turns, twists and turning points to build up. Directed by Kuba Drewa, the performances of Alexia Whybrow and Fern McCauley were strong emotionally and physically and were a highlight of the evening.

Coming back from interval Cold Calling by Suzette Coon brought together generations. The older Suzanne (Judith Eveson) and the young and very wired Laura (Katie Richmond). They clash over windows and a porch but in a world with no future, what else is there to do but apologise for what you have become and reach out to those who are in a position to help.

It’s always great to finish with a good laugh and Hamlet in Hiding by Rich Rubin was just that. There has been a bank heist but unfortunately the robbers have been encumbered with perhaps the most annoying getaway driver in Belfast. This was a tightly written piece that was consistent in its comedy and performance.

This was an evening that saw: unwanted flowers, desperate men, Shakespeare, forced feeding and a ring being pulled off a finger. It was varied in content but everything was performed, written and directed to a high standard. This was another strong Platform by the Bread and Roses Theatre Company, here’s to many more!

 

More details about this, previous and future Platforms can be found on the Bread and Roses Theatre Company website.

Dante The Inferno - Review

Dante The Inferno

Leicester Square Theatre - lounge.

Adaptation can be difficult, just ask Charlie Kauffman and it requires a curious mix of skills to do well. A key point of the process is balancing creating something new and exciting whilst maintaining the integrity of the source. Dante The Inferno recently on at the Leicester Square Theatre didn’t quite achieve this balance but delivered some excellent performances that certainly gave a new perspective on the poem.
 

I have a certain level of cultural understanding of Dante’s Inferno - you can’t really gather creative degrees and not come into contact with the concepts - but haven't read the Divine Comedy. At many points in this production I felt lost, scrabbling around for cultural references that I could remember. For instance I knew that Dante’s journey when through nine the circles of hell and yet this adaption focused on three circles, which if contextualised within the piece wouldn’t have been a problem - but it wasn’t. The structure then was a writer character interacting with the devil in between weaving a separate stories around the circles ‘Lust’; ‘Gluttony’ and ‘Violence’. It was again, however unclear if these framework characters were witness to these stories, involved or just coexisting. Perhaps an audience who had read Inferno would be a little less lost than I was but accessibility is just as important for people without an intimate knowledge of the text - and would be an important point to consider if this adaptation was developed further.
 

Within the circles the writing and story was more assured. Although, it was a little unclear whose side we were supposed to be on in ‘Lust’ - the lovers or the murdering-Jack-the-Ripper type - who was being punished and for what was confusing. With ‘Gluttony’ there was a sad little moral tale of love and ‘Violence’ was given a contemporary voice with three short monologues about the potential life of one lost to gang violence. Whilst the style was quite different in each (influenced by three writers, adapter Nicholas Pelas, Natasha Jervis and Kevin Lee) this didn’t matter too much.

 

The performances throughout the show were strong. Rachel Summers as the ‘Satan character’ Roberta Fox, clearly revelled in her persona and it would have been nice to have unleashed the power of her character more. Peter Ravel-Walsh was suitable creepy and very versatile across his roles. He brought the necessary visceral physicality to ‘Gluttony’ that was quite confronting. The performance of Du’aine A Samuels was also impressive as his presence tormented the dreams of the one who had killed him. Overall the ensemble was cast well and the character well delivered.
 

In terms of design, the minimal set worked well and the costumes were good. A more free-flowing direction would have been better suited to the intimate space (less blackouts) but in writing, directing and performing Nicholas Pelas generally showed a solid graft. This work has good potential to develop as a longer project, but to do so should probably mean returning to the poem. For perhaps as much as anything else, adaptations should encourage you to engage with the source text, and seeing this production certainly did make me want to read the Divine Comedy.

Tartuffe by Molière Review

Tartuffe.
The Canal Café Theatre

Fringe repertory company, Paradigm presents the fourth and closing production of their inaugural season the French classic, Tartuffe. The stage is set, the red curtain moves a little bit and someone is playing the piano…

The thing about updating the context of a classic text however, is that you absolutely have to commit to it. Otherwise the assumed aesthetic can risk becoming glib, throwaway and at worst a distraction. Paradigm Theatre Company’s production of Tartuffe is a solid production of the play but fits somewhere in between the two extremes of updating a context. We are presented with a gorgeously costumed world, but at no point does the cabaret world actively interact with the text. This I feel is a missed opportunity because there is nothing quite like slightly seedy clubs to get the righteous and religious up in arms, and it would add another delicious layer to the devious nature of Tartuffe. A “godly” man all at see in a world of Cabaret would really draw out the parallels of the new context really nicely. When transporting the action of a classic text into the 1920s, it is preferable to embed the new context so that it becomes an intrinsic part of the play.   

Apart from the text, incorporating more cabaret into the style and direction of the performance would have also be a good idea. Some of the best moments of the production involve the sudden intrusion of live music and gorgeously stylised poses from the ensemble. To push this much further and integrate it throughout would be a risk that would have paid off in the Canal Theatre Café, a delightful venue really suited to the cabaret aesthetic. As mentioned previously though the costuming from Shoni Wilkinson was excellent but support from other elements would have lifted it to another level.   

Although, slow to start, the play quickly picks up as the complications in the Molière plot, layer and we are invited to share in the folly of young lovers Mariane and Valère sympathetically and endearingly played by Phoebe Batteson-Brown and John Rogers. The plight of the young all the more poignant as most their elders are proven fools in the face of Tartuffe’s lies. Only the quick-witted maid Dorine (Katherine Rodden) can truly help and she is only a servant. It takes the patriarch Orgon reaching new heights of professional and personal stupidity, going as far to sacrifice his family’s future over to Tartuffe, before the other adults finally work out a plan to out the con-artist and free family from his grip. When a brother’s words of wisdom have no ears, a wife’s virtue comes into play and the trap is set.

The ensemble cast really embraces the complications and the absurdity of the situation and as the show goes along, warm to the humour so by the time Tom Ward-Thomas interferes as Loyal we are as invested as they are in the fate of the family. A nice touch that reinforces this investment is the continual asides and the actors frequently moving throughout the audience tables. So grab a drink, make your way upstairs and enjoy what is currently on offer at The Canal Café Theatre until the 27^th April.

 

Tickets available here.

Vagina Monologues - Eve Ensler Review

I had mixed reactions from people I told I was going to see The Vagina Monologues. There was polite interest, only one person I spoke to had seen it before, most had everyone had heard about it – but overall the sentiment expressed was along the lines of “oh that was important wasn’t it” – “it was a big thing at the time” – “aren’t we a bit past that whole vagina talking thing?” Well, this production organised and directed by Tessa Hart, assisted by Jessica Ruano proved that we well and truly are not.

Is it confronting to listen to people talking about their vaginas? Not particularly. It’s surprising how quickly it feels normal and completely not weird to be in this situation and hearing these women’s stories. And we meet vaginas grieving; vaginas that flooded; vaginas that were off limits; vaginas removed; vaginas raped; vaginas loved; vaginas as home wear furnishings; vaginas discovered; vaginas as cunts; vaginas receiving; vaginas as a village; vaginas giving; vaginas angry and vaginas jubilant.

Eve Ensler’s scripts strike a good balance between the hilarious and hysterical and pathos. There is much movement in emotion and voice across the monologues but they are united in their ultimate affirmation of love and life against what can sometimes be a violent world. Also, in each story and from each monologue there is a connection to each of us that comes directly from their source material being from real people. There was truth to much of the writing and it shone through the entire reading. And whilst the majority of the audience had thankfully not experienced sexual slavery – even in those harrowing stories there were startling small moments of recognition.

The actresses performing were Kate Smurthwaite; Rebecca Mordan; Sally Mortemore; Kate Rawson; Georgia Buchanan; Bonny Davis; Jenny Hsia; Jiin Jang; Lauren Karl and Lydia Lane. The ensemble were excellent and committed to the monologues and it is hard to separate out performances. But I will say that I particularly enjoyed Lydia Lane, Georgie Buchanan and Sally Mortemore’s monologues and their characters voices have really stuck with me.

This play is a celebration of who we are as women, and what we can be. It is a challenge to the potential in all of us to make a difference and to take a stand against cruelty and violence to women across the world. One Billion Rising is a growing network and charity that Eve Ensler founded – it involves dancing, reclaiming bodies (including vaginas) and standing tall against violence.

It always frustrates me when people are dismissive of plays that were written a few years ago, and doubly angry that if these were by a woman about a feminist issue they are even more disregarded. I think Tessa Hart and the people who worked on this understand this much more than anyone I spoke to before seeing this show. This play is as relevant as it ever was perhaps more so – and you don’t need to have a vagina to acknowledge that.

More details about the production here: http://www.obrartfest.co.uk/the-vagina-monologues.html

Short Cuts 3 - A Box of Tricks

Short play nights can a mixed bag of sweets, it’s part of the program that you take the slightly underdone ones (chewy bananas)  with the fabulous (sours) - and all in all they are great evenings anyway, because of the variety of tastes. Theatre is subjective at the best of times so you also end up with people who prefer the chewy bananas over the sours and so generous audiences and generous applause fill the theatre. In the recent run of Short Cuts 3 at the Hens and Chickens the pick ‘n’ mix had been carefully selected so standard never dipped and indeed and it was all very good. 

1. Another Girl by Eliza Power

Tom Fava's Bryan cowers under the unleashed Joanna played by Eliza Power.

Well suited to the short form, this play revolved around what seemed to be an ideal couple. He gets just what he wants and she, well she is programmed to give him just that. That is until she is caught in an electrical storm, her circuits break and Bryan is left far more alone that he ever thought he would be again. An unsympathetic voice on the end of the phone doesn’t prove much solace and with through energetic performances the present and past collide into quite a dark love story. It might not be what he wants, but it might be what he needs.

2. A Dog Hotel by Nia Jones

Abla Kandalft as the broken but hopeful Glenna and Phoebe Price as the snippy and pragmatic Carly.

This one involved a box of memories left to two women who share nothing except an old friend who recently died. In terms of pacing it was a good choice to put this one second on the bill as it was moving and dealt with heavier content than the others. I think it might be worth exploring the situation further and developing the friendship between the characters - after all whilst friendships formed in high school often don’t last, at the time they are intense enough to leave traces all over who you end up becoming. These two? Who are Carly and Glenna? There is more there to work with, although the time we spent with them was tantalizing as they were both well performed characters that would be suited to a longer piece.

3. A is for Arsenic by Lexy Howe

Lexi Howe, Camila Fiori and Danielle Nott enjoying the pleasures of love and crime.

This play had a delightful and playful murder plot. It worked really well, was charmingly performed and had a nice snappy rhythm to the dialogue. In a good piece of direction there wasn’t much physical movement on the stage, so the resulting performance was tight, structured and played to the strengths of the text. April, Cecily and Joan - unlikely murder suspects but they have one thing in common - the man they all fell for separately and hated together.

4. The Little Wula written and performaned by the Grandees

Andrew Mudie as the creepy and springy Leaping Lizard taking control of Marny Godden as the  brave Little Wula.

Well, this play was absolutely crazy in the best kind of way. It was both bizarre and wonderful and absolutely hilarious. There is nothing quite as fun as being in the audience when actors are so enjoying themselves - but always feeling safe enough that they know what exactly they are doing. This one again as potential for further development, and it would be Interesting to see this comedy troupe develop it further, I think it would be quite suited to radio - but equally the staged dynamic is great and it is all a curious mix of that works very well - so perhaps a hybrid form? Either way I hope to see more of the adventures of Little Wula and Clobberguts, although the Leaping Lizard looks gone for good!
It was a good decision to have four plays in this presentation. It worked well and the timing of them all fitted nicely. They were well written, directed and produced and fittingly as Short Cuts is developing a good critical base it is going to be continuing to provide short play evenings throughout the year. Sweet!