24 posts categorized "Soho theatre" Feed

Review: East End vernacular meets Shakespeare to create a revealing lyricism in Flesh and Bone, Soho Theatre

Its rich lyricism is matched by an angry energy but also a sense of love, loyalty and camaraderie.

Elliot Warren and Olivia Brady in Flesh and Bone  credit of Owen Baker
Elliot Warren and Olivia Brady in Flesh and Bone. Photo: Owen Baker

Flesh and Bone is an everyday tale of 'oi oi savaloy' East End working classes but told with a revealing Shakespearean lyricism.

It opens with 'What a piece of work is a man' but then uncouples from Hamlet's speech to talk about power, greed, love, hate, lust and fear.

Clever writing

Words like 'maketh' and 'coinage' mix with 'rock and roll' giving it the feel of something that is both familiar, contemporary and yet of another time. This is the cleverness of Elliot Warren's writing. 

Warren delivers the speech as Terrence, one of those lads we'll discover who reacts with his fists a little bit too quickly. He is a wide boy and the antithesis of the sage, considered poetry he speaks or is he?

 

Continue reading "Review: East End vernacular meets Shakespeare to create a revealing lyricism in Flesh and Bone, Soho Theatre" »


Round up: That was April in London theatre - Monster casting and A-list actor spots

MTNEW* I'm excited and nervous about the forthcoming stage adaptation of Patrick Ness’s novel A Monster Calls (the book is a favourite) but I couldn’t think of a better actor than Matthew Tennyson to take on the lead Conor. The production will have a run at the Bristol Old Vic from May 31 and the Old Vic from July 7.

* David Haig’s play Pressure (in which he also stars) is transferring from Park Theatre to the Ambassadors following a successful run at the Finsbury venue. Malcolm Sinclair and Laura Rogers co-star.

* Stan-fav Adam Gillen has been cast in Killer Joe, Trafalgar Studios, which stars Orlando Bloom and I'm really looking forward to seeing him in something very different to Amadeus. You can see photos of the cast in rehearsal over at What's On Stage and previews start on May 18.

* Kilburn's Tricycle Theatre has been renamed the Kiln Theatre post refurbishment with a new season that includes the UK premiere of Florian Zeller’s The Son.

* In a new twist on role swapping (recent role swaps: Mary Stuart, Almeida; RSC's Doctor Faustus and NT's Frankenstein to name just three) Hayley Atwell and Jack Lowden are to alternate playing Isabella and Angelo in Measure For Measure at the Donmar Warehouse.

* There is part of me that is excited and really curious and part of me that thinks: 'Gimmick to get repeated visits'. There is one version I'd particularly like to see but no way of knowing, having booked at ticket whether I'll get it. Previews start September 28.

Continue reading "Round up: That was April in London theatre - Monster casting and A-list actor spots" »


Review: Suicide under the spotlight in Milly Thomas' Dust, #SohoTheatre

Dust - Milly Thomas (courtesy of The Other Richard)_3
Dust - Milly Thomas. Photo: The Other Richard

Alice wakes up in a hospital, staring down at her own corpse. She is now an outsider in her own life, an invisible shadow in the aftermath of her suicide.

She follows her parents home, visits hers friends and cheating boyfriend, watching how her death affects them all. We get flash backs to her life, her depression, her isolation.

It's a candid frank and witty account, written and performed by Milly Thomas wearing a flesh coloured body stocking with only a shiny metal morgue table and four mirrors for a set - metaphors aplenty. 

Against the vanilla-attired Alice, her friends and family are the colour - her drug-taking, shower-avoiding brother, wealthy and officious aunt and supportive best friend just three.

They are well-drawn and astutely performed by Thomas who flits between multiple characters with ease and pin-point timing. They are also well-observed, as are the reactions and their interactions following her death.

Continue reading "Review: Suicide under the spotlight in Milly Thomas' Dust, #SohoTheatre" »


Review: Desire and identity in The Butch Monologues #SohoTheatre

The Butch Monologues (c) Christa Holka (2)
The Butch Monologues (c) Christa Holka

The Butch Monologues is many voices in many stories, more than 50 personal experiences in fact, told in just 60 minutes and that is part of its power. Some of the stories are just a few sentences, some last a minute or so but all have been collected by writer Laura Bridgeman from interviews with butches, masculine women and transmen across the world. 

Each is read out by one of five performers - some are professional actors, some not - and explore desire, sexuality and identity. The sheer variety of voices demonstrates the complexity of the subject, the scope of human feeling and experience. There are some horror stories - the operations required after using horse bandages to bind breasts and less than supportive bosses - but there is also a great deal of humour and warmth.

The tales cover everything from childhood discoveries and parental reactions to first time experiences and bedroom preferences. There is friendship, rejection, bonding, bondage and suit buying in such a colourful array of narratives that challenge stereotypes and champion humanity.

There is much to take away from The Butch Monologues but for me what resonated most was the road to self knowledge and understanding. Despite some difficult journeys in many of the stories there was a self confidence, a power from feeling comfortable in your skin and that you aren't alone and that was liberating and enlightening. I'm giving it five stars and you can catch it at the Soho Theatre Upstairs until November 25.


Review: Belarus Free Theatre's Burning Doors, Soho Theatre and UK tour

320x320.fitandcrop-1Belarus Free Theatre productions aren't for the faint hearted or those seeking a nice linear narrative. This production in particular is a physical, poetic, brutal and raw mixture of performance art, verbatim narrative, film archive, audience interaction - and a conversation in the toilets at the Kremlin.

Maria Alyokhina, one of two members of Pussy Riot jailed for 'hooliganism', joins the cast for the piece which explores art and freedom in a repressive regime. Her experiences in prison together with that of Russian performance artist Petr Pavlensky and Ukrainian film maker Oleg Sentsov make up the three 'acts' of the play.

The brutality of life within the Russian justice system is played out, the strip searches and beatings physically represented as are what it represents psychologically and metaphorically. A man who is pushed down keeps getting up, the repetition of such actions demonstrating the relentlessness of the routine and the stamina it takes to resist and to survive.

Through the physicality of the performance - and the actors certainly work up a sweat - comes the poetry, the strength of spirit and the determination not to be ground down and an exploration of what freedom actually is. All three 'prisoners' are artists who use their art as an expression of protest, as a political statement, once that means of expression is taken away from them, what remains?

It is a demanding piece and like the first production of BFT's I saw - Minsk 2011 - I'm not going to pretend I understood everything and at times that can feel a little alienating but overall, as a piece of theatre, it has a powerful essence.

Burning Doors is one hour and 45 minutes long without an interval and I'm giving it four stars. It is on at the Soho Theatre until 24 September and then continues it's UK tour before heading to Italy and Melbourne.


Review: Gay love triangles and tangles in This Much, Soho Theatre upstairs

320x320.fitandcropSeemed appropriate to be watching a play about gay relationships in Soho while the Pride celebrations were cranking up in the streets outside.

In John Fitzpatrick's play Gar (Lewis Hart) is in a steady relationship with Anthony (Simon Carroll-Jones), who is house proud and hints that he wants marriage and kids. However, Gar has also just met Albert (Will Alexander) through a dating app and he's young, exciting, steals biscuits to impress and gets his cock out in public.

Gar wants his (wedding) cake and to eat is as well or rather he doesn't know whether he is the 'cake' or 'eat it' type. He wants to wear a wedding dress and dance with his friends but he wants what comes with marriage and a longer term relationship.

Anthony offers Gar love, stability and domesticity whereas Albert offers excitement, passion and no strings. But it is more complex than that, it is a play about how relationships define you. Both Gar and Anthony's attitude towards marriage and relationships is shaped by their parents, whether that means they want something very different or hanker after something similar. Certainly, at times, it feels as if Gar's behaviour is a way of sticking two fingers up at his parents and in particular his dad who hasn't spoken to him since he came out.

Continue reading "Review: Gay love triangles and tangles in This Much, Soho Theatre upstairs" »


Review: Fear and fun with Fyodor in Idiots, Soho Theatre

320x320.fitandcropIdiots starts with a bit of audience interaction*. The sort of audience interaction that leaves those on the front row and aisle seats avoiding eye contact and shrinking into their seats while those sat safely in the middle rows smugly laugh on.

I'd like to say that that is the least comfortable moment in this part adaptation** of Fyodor Dostoevsky's The Idiot and part fantasy biopic of the writer's life but it isn't. Don't get me wrong, there is plenty of silliness as you'd expect from a dead central character who is living in a flat below Mr Blobby and his Thai wife. However Will Cowell and Jonnie Bayfield's play also has a dark underbelly, from the flashes of Dostoevsky's life to the scenes from The Idiot where they brutally expose what Dostoevsky only hints at in the 19th century novel.

Dostoevsky was concerned with the human state, psychology and extreme behaviour and in some ways Idiots reflects that. The dead writer of the play has his life put under the spotlight by a bureaucrat who exposes the tragedy, vanity and cruelty. It questions whether you can make allowances for bad or immoral behaviour because of  fame and talent.

Meanwhile in The Idiot the gentle intellect of Prince Mishkin is misinterpreted as stupidity and he is pushed aside by a violent bore Rogozhin who tyrannises the object of his affection Nastasya Fillipovna.

Continue reading "Review: Fear and fun with Fyodor in Idiots, Soho Theatre" »


Review: Tonight I'm Gonna To Be The New Me, Soho Theatre

Jess Latowicki, courtesy Richard Davenport.JPG 2 copy
Jessica Latowicki in Tonight I'm Gonna Be The Real Me. Photo: Richard Davenport

Tonight I'm Gonna To Be the New Me is an intriguing title for play as it immediately raises a myriad questions about the 'me' of the piece. Is it Jessica Latowicki performing under her own name or is it her boyfriend (in real life too) the 'writer' of the piece Tim Cowbury who also controls the lighting and who is occasionally teased into the performance.

Then there are all the questions about why the desire or need to be 'new'.

The play is a mass of contradictions as it explores Tim and Jessica's relationship. Is it an honest portrayal of a dishonest relationship? Is the dishonesty with the audience? Is it Tim's perspective, his fantasy, likes and dislikes, needs and annoyances? Is Jessica his puppet serving his whims - she wears sequined hot pants and a bra top and performs in a cube?

Are Jessica's conversations with the audience her breaking away from the script or has Tim put them there? Are her long free-form dance sequences her own invention? When she has Tim go and get her a beer in the middle of the performance is that her or is he exposing an aspect of their relationship?

Continue reading "Review: Tonight I'm Gonna To Be The New Me, Soho Theatre" »


Review: Bears in Space or King Joffrey plays with teddies at the Soho Theatre

291732_770_preview-1
Bears in Space at the Soho Theatre until Aug 22

While Game of Thrones TV series fans the world over debate whether Jon Snow is really dead there is one resurrection that has definitely happened. Yes, evil King Joffrey is back or rather the actor who played him: Jack Gleeson. 

He was reported as saying he was hanging up his acting shoes post his TV character's dramatic poisoning but last year, together with a group of friends under the name Collapsing Horse, took a show - Bears in Space - to Edinburgh.

He must have enjoyed treading the boards with his hand up a teddy puppet's bottom because the show has come to London and is in residence at the Soho Theatre for a few weeks. It is an event that hasn't gone unnoticed by GoT fans as the gaggle of clip-board clutching autograph hunters outside the theatre will attest.

But there are plenty of reasons to see Bears in Space other than getting the chance to look the evil Joffrey in the eye. It is very silly and full of chuckles and laughs as the four performers - Aaron Heffernan, Eoghan Quinn and Cameron Macaulay joining Gleeson - recount the story of 'Bears. That are in space'.

Continue reading "Review: Bears in Space or King Joffrey plays with teddies at the Soho Theatre" »


Review: The deliciously lyrical and poignant Chef @sohotheatre

Chef, Ed Fringe 2014, courtesy Richard Davenport 010
Jade Anouka in Chef courtesy of Richard Davenport

The last time I saw Jade Anouka on stage she was adding tragedy to hot-headed Hotspur in the all female Henry IV at the Donmar. Here in Sabrina Mahfouz's Chef she once again gets a chance to shine, this time in a solo performance which she's reprised having won the Fringe First Award in Edinburgh last year.

This is the story of a passion for food and cooking that puts a young woman on the path to success and fulfillment only to end up as a convicted inmate. Set in the prison kitchen the rise and fall is told with a mixture of beautiful evocative lyricism and tough, sometimes brutal, contemporary realism.

It is a play and a performance that holds you rapt from the moment Anouka writes 'Perfect peach' on the kitchen white board and then has you salivating as she describes how it should be treated and prepared and how it should taste.

Continue reading "Review: The deliciously lyrical and poignant Chef @sohotheatre" »