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On reflection

What was your key learning point?

I learned that blogging can be fun and that reviewing doesn’t have to be negative. In reviewing/experiencing new and exciting theatre you are essentially opening your mind to new ideas and possibilities. This is crucial if you are a training practitioner aiming to make professional work. You can’t criticise without being able to compare your views to past experiences of productions. It has informed my thinking about theatre and compelled me to think about blogging as a future hobby.

What was your key learning block? (what did you find most difficult?)

Firstly, despite my generation being known for its technical prowess and dependency; I struggle with technology and prefer to not use a computer where possible. I was overwhelmed at first that blogging was something that we would be marked on due to the element of subjectivity that comes with writing your opinion on anything. I guess I saw it as practice for the future when I will hopefully be part of a theatre company. However, the video blog hopefully is something I will never have to do again because I really struggled and failed to see how it was benefitting me (someone who does not want to vlog as part of my career). I also find it hard to grasp the fact that there are so many blogs out there, sometimes you might as well be talking to a brick wall because a lot of people are posting but not many are listening… I just don’t feel my opinion really matters when there is a whole ocean of opinions (excuse the cheesy metaphor).

What do you need to do next?

I need to carry on reviewing stand-up comedy (something I did enjoy greatly) and save the knowledge I have gained from watching a variety of pieces, to inform the way in which I make work in the future. I don’t plan on being a theatre critic in the future but it was fun to have a go at it and get a taste of what it is like to share my experiences of theatre with other people.

The Father- Review

The Father was a piece focussed on the effects of dementia on a middle-class family. The arc of the story was very clever. At first the story lured the audience in with subtle comedy before uncovering a dark reality. It started with a man in his late sixties on stage, telling his daughter that he had lost his watch, coming up with various theories regarding its whereabouts.

The audience sympathised and laughed along with this witty and spritely man who had a slightly cheeky glint in his eye. This carried on for a few scenes. It was becoming clear that a bond was being shared between the audience and ‘the father’ even though the piece was naturalistic in terms of the dialogue being delivered on stage. The piece was maintaining its fourth wall despite the audience wanting to reach out.

Gradually the plot thickened and we saw a deterioration of this man’s health, the comedic stance he had before provoked the audience to sympathise more than the characters around him on stage. This in turn raised further awareness to the motives of characters around him. For when you have dementia you begin to start thinking that people are making jokes and hiding things from you, when in actual fact it is your mind forgetting everyday things such as losing possessions, forgetting where you are and even forgetting family members as ‘the father’ eventually did. The audience were conditioned into feeling this way as minor pieces of furniture were taken on and off in rapid blackouts throughout the performance, making us constantly question where we were in each scene.

The show drew parallels between dementia and childhood in the sense that the vulnerability and dependency the protagonist ends up developing seems at first selfish “what about me?... you aren't leaving me are you?” etc… Although this was distressing to see, it drew focus and awareness to a topic that ultimately needs light shed on to it. It really had an impact on the audience’s emotions and I loved it.

Peter Pan Goes Wrong- Review

We were told that ‘in the next few nights there will be the opportunity to see a pantomime parody’ in which everything goes pear shaped for everyone on stage. My eyes lit up at the prospect that for once someone had decided to highlight everything wrong with pantomime. All the egos of amateur actors and directors jostling for minor roles with minor amounts of power. Everything being taken far too seriously as if the pantomime is going on the West End (all the stresses and trials of community theatre).

The Cornley Polytechnic Drama Society brought J.M. Barrie’s classic story to the 21st Century as we were thrown into middle class politics behind putting on a school production. As the audience sat down the cast members were warming us up with jokes dressed at ushers and shaking hands, getting to know the audience personally and breaking that fourth wall. The cast members were in character as members of this ‘school production’ that was “put on hold, but now with a much larger budget” they were ready to begin. The timing of initial ice breaking jokes was impeccable because often it is hard to time these well when audience members are laughing so outrageously in between. The company excelled in this regard throughout as they kept the laughs rolling in at every opportunity.

It sounds almost rather easy at the face of it, with the pressure off to get everything right on the night. With one’s soul aim to get everything wrong on stage and make a show out of it. In actual fact it looked like harder work pulling off anarchy than perfection in not breaking character or scuffing up lines.

The choreography was clearly paramount in the success of this piece and it really showed. For instance in one scene Peter Pan flies amongst cast members, knocking his head as he steps on a loose wooden panel of a table. If this went wrong on the day (which it very well could have done due to the speed in which that panel shot up) it would have been disastrous. The fact that it didn't showed how well controlled everyone was in terms of timing and positioning. The danger is allowing sections to look over rehearsed, it is easily done. This was not the case. Moments of conflict and disaster looked in the moment and the whole piece was slick from start to finish. The show was commended by Radio 4’s Libby Purves, summing it up as “Joyful disasters from comedy masters…” rating performance with five stars. I personally couldn't agree more.

Excellent Cast, Excellent Show.

Moonfleece was a triumph.

Moonfleece- Phillip Ridley- My Review (spoiler alert)

I was lucky enough to see a production of Ridley’s play put on by third year drama and acting students at the University Theatre at Bath Spa. The show itself focussed on alienation of homosexuals in a dystopian future in which a far-right political party has complete control.

We as the audience were first introduced to a derelict house in which a squatter was residing and defending his ‘home’ against a group of racist, fascist bigots (the party in control). Piece by piece we found out about the rise of the party and the history of the derelict house. Every piece was linked and woven in a fine tapestry of storytelling that had the audience captivated throughout.

We learned that a member of the family that formed the foundation of the party was a homosexual who had ‘disappeared’ after deciding to embark on a trip to visit rainforests. However this was later revealed to be far more twisted and dark than one might first assume. As the stage lights in the finale of the piece, showed a UV painting covering the entirety of the set which depicted the missing family member gazing at a lake revealing that suicide was the only dignified option when faced with exile from his own family and government. It was beautifully heart wrenching with fantastic performances all round, especially the characters that narrated and stole the show with the impeccable delivery of clever innuendos regarding serious topics in the frame of an almost childlike fantasy.

I take my hat off to Phillip Ridley for taking the time out of his busy schedule to talk to audience members/students about his past, shedding light on his influences and the way in which he works. Knowing that we would get this opportunity to speak with Ridley I chose to take on one of his plays (The Pitchfork Disney) as a project with a few colleagues of mine. For the first time and hopefully not the last, I was able to ask a practitioner how he thought his work should be delivered. He told me to study his language and to make sure that I maintained dreamlike feel in the way in which scenes can flow together. The production that I saw certainly lived up to mine and Ridley’s expectations. The way in which language was delivered, the clear comedic hierarchy among characters and snappy physical choreography in key moments of the story was thought provoking and stunning to watch. I only wish I could see it again and again.

#phillip ridley #moonfleece #theatre

My Second Term of Bath Theatre visits

Strip- Ustinov A Verbatim piece centred on burlesque dancing posing the question ‘are they the same as strippers?’ It was clear that they had done their research into their chosen topic but the company clearly stumbled on the delivery of it.

Peter Pan Goes Wrong-Theatre Royal An amazingly hilarious pantomime parody that I would recommend to anyone. It gave a sense of what it would be like if an amateur school production was given thousands of pounds to cause havoc on stage with all the gear but no idea. Thoroughly entertaining featuring a fantastic revolving stage and creative aerobatic choreography.

Arcadia- Theatre Royal This was a Tom Stoppard play that drew the audiences focus to the history of a Derbyshire country house (Sidly Park). The piece took place in both the 21st Century and 1809/1812. As it flowed between centuries it drew parallels with wordplay amongst multi-rolling characters. Offering intellectual comedy, romance and conflict it was very structured and precise in delivering great entertainment whilst allowing the audience to think.

King Lear- Theatre Royal Unfortunately this was a very disappointing visit to what was hoped to be a marvellous version of Shakespeare’s classic text. It was bold in its interpretation, featuring minimal set, lighting and props (something which did have potential). However, a few members of the cast were either ill or unable to speak loud enough with the required diction to deliver their lines which meant language was lost. The fight scenes were self-indulgent and the acting on majority was dry and lifeless. Not the best.

Broke- Ustinov A look inside the life of Pay Day Loan victims and the impact this has on their families. This Verbatim piece was modest and beautiful with great use of devices (projections, music and creative lighting). It was very political and delved straight into the hearts of audience members that might not have realised the impact that debt can have on lesser privileged families. Truly inspirational.

Freak- Bath Spa University Theatre This was written by a third year student at the university I attend. A student production with ambitious visions into the world of mental health. It raised awareness to disorders such as Bipolar, Anorexia and Depression etc… through use of contemporary music, dance and comedy all wrapped up in a non-naturalistic carnival theme that ran throughout. Very enjoyable yet thought provoking, and it was clear that a great deal of work had been put in.

Rebecca- Theatre Royal Kneehigh really delivered a masterpiece that hinged on jealousy, lust and revenge (a cocktail good enough to gaze at). Director Emma Rice proved yet again that a company coming from the middle of nowhere can put a great deal of theatre companies to shame. The production used puppetry, live music, dance and vivid story-telling to introduce the audience to the dark secrets of ‘Mandalay’ a house haunted by a previous mistress ‘Rebecca’. If anyone has the chance to see it, I urge you to do so. I would see it twice more if I could afford it.

#theatre #review

Why does stand-up comedy work as a form of modern entertainment?

My group blog with Jack Evans and Laura Clarke.

The Hypochondriac- My review

The Hypochondriac is centred around 17th century France, at which time doctors were prescribing what we today would regard as ‘insane’ treatment for ‘illnesses’. This was a time in which blood circulation was a debated ‘theory’ not ‘fact’.

The play was written by Moliere (a pioneer in French comedy) however, the performance that I saw at the Theatre Royal Bath simply did not give justice to this great man. When I found out that Tony Robinson was the lead role in this play my heart was racing and I was boiling over with excitement because I grew up as an avid Black Adder fan, but when Tony Robinson walked on stage as his character ‘Argan’ he was simply being himself. I was struck with disappointment, the jokes weren’t sophisticated and Tony Robinson was just Tony Robinson, no altered voice, a slight attempt at convincing physicality but it was barely acting as far as I am concerned. Many actors on stage also forgot their lines! Which I can sympathise with but not condone in a professional theatre. Even when lines were on course they seemed forced and flat.

A review by Aaron Lembo in our on campus ‘Spa Life’ magazine decided that the show would ‘leave you laughing’ when in fact it left it left many of us sad at the fact that we weren’t laughing. If you looking for a night of harmless fun and spectacle with mediocre acting then this is your best bet because although it wasn’t the best performance, it was an enjoyable night with audience participation and musical numbers in between scene changes (a Richard Bean trait that did provide some laughs). There were some redeeming aspects such as the servant Toinette played by Tracie Bennett however it did not redeem Tony Robinson’s ‘performance’.

what has been so far

Since arriving in Bath I have had the opportunity to see a number of plays in various genres and have enjoyed them all to some degree.

'The Hypochondriac'- a comedy written by Moliere starring Tony Robinson was certainly worth a watch with its discrimination of crooked doctors in 17th Century France in a pantomime-like style.

Shakespeare's 'Henry IV' Part 1 and 2 were both exceptional in my eyes regardless of comments regarding Shakespeare's 'confusing' language and emphasis on political issues in Part 2 as apposed to the spectacle of sword fighting and battles which featured in Part 1

Phillip Ridley's 'Moonfleece' was simply breathtaking on so many levels because it dealt with serious political issues regarding the possible rise of far right wing politics; embedded in the frame of carefully chosen metaphors and innuendos. Certainly my favorite production so far...

'The Father'- directed by James Macdonald was close to home for me because it dealt with the topic of dementia in a middle class family. It left the audience overwhelmed by sympathy and slightly more understanding of the issue (even if it was just for one evening) as people left I felt it was positive that people had no choice but to ponder and become more aware of this issue... There was spectacular acting that I could believe with effective scene changes that always reinforced the feeling on confusion and loss but in a positive way because it raised awareness for this merciless illness.

'Exit the King'- directed by Lawrence Boswell and starring Alun Armstrong defined absurdest theater for me, I lost all sense of time and was completely enthralled in the unique world that had been created on stage. It was remarkable for so many reasons but what impressed me the most was Armstrong's commitment for his physicality as he became gradually more withered and frail.

PG Wodehouse's 'Jeeves and Wooster in perfect nonsence' was the only disappointment I have felt so far which is lucky in a way. However, the expectations were high seeing as this particular production had came 'Direct from the West End'. I found myself laughing more at an audience member's laugh (which was comedy gold) than the comedy that was being attempted on stage. 'Jeeves' was working very hard and that was plain to see... he was the only saving grace in my eyes.

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