Archive for the ‘Reviews’ Category

Steps Around London

Tuesday, July 13th, 2010

Craig and I zoomed to London today in order to size up how Revolutionary Steps might work at The National Theatre. In truth when agreeing to this gig I had my head turned a bit by the pull of The National. The show relies entirely on adhering vinyl to smooth hard interior surfaces and the inside of The National is almost entirely composed of carpet and textured concrete.

Initially it also looked as if I had walked us into another heap of bother by suggesting we give Bruchner’s Danton’s Death the vinyl adaptation treatment. Howard Brenton’s adaptation of the play is about to open in the Olivier Theatre so it made sense for us to do our adaptation in the foyer. I was confident in our abilities and at the time seemed over cautious to actually read the script before making this commitment. As it turns out there are no car chases, not shootings, no monsters and no giant beanstalks. There’s a lot of amazing text, often in hefty monologues, but not a lot of spectacular action.

I’m pleased to report that after a number of hours chiseling away at the problem we made good progress.The next step is splicing together a script. Then Simon and Craig return to the theatre to make precise decisions about the design.

From the South Bank, Craig jumped on a train to Battersea to run the quality control measure over the latest It’s Your Film team, I jumped on the Northen Line for an extended period to visit Arts Depot in North Finchley.

Mention of Finchley still makes me twitch but it seems like a nice enough place and Arts Depot is beautiful. Nick Sweeting has pulled together the amazing achievement of bringing Nalaga’at Theatre to London. This Isreali company comprises deaf, blind and deaf-blind actors. They have bar in the pitch black served by blind bar staff, they have a very restful restaurant run by deaf waiters and Nick has put together the package that brought the whole lot of them over.
The show was sold out but I was sneaked in at the back. Based on the kneading, rising, baking and sharing of bread, the show spends much of its time introducing us to its performers, their stories, dreams, ambitions, abilities and disabilities. Inevitably a portion of the show is spent trying figure out the mechanics of the production and their working process, but it is to the show’s credit that it also transcends these concerns and speaks directly for itself.

The News Where You Are

Saturday, July 3rd, 2010

A European Theatre Festival and a major book launch on the same night! Hell’s teeth it was cultural overload in Brum last night.

Catherine O’Flynn’s second novel was launched at the Ikon. I’ve read it and can certainly recommend it but will let Fay Weldon tell you about it as I agree with her and she writes more beautifully that I.

It has been launched in the ‘trade paperback’ format, so you may wish to wait until the true paperback comes out. I can’t understand why they don’t just call this format a firmback book, surely it would be a more transparent term which would sit more obviously between the Hardback and paper or Softback categories.

Dancing and Soldiers

Sunday, April 25th, 2010

As I was watching Rosie Kay’s dance piece 5 Soldiers last night I thought lots of things.

Amongst other things I thought about: dancing in boots; stamping; human machinery; jobs that are about being bored most of the time; teams and teasing; theatre vs dance; “nice moves”; the Stan show after the show after the next one; maturing; “will they edit this show much”; Nick who used to be in Portsmouth and is now in Wales; war terror; “what was the name of that very long Soviet documentary I saw half of about troops on the Afghan border?”; dramaturges; the end; Selly Oak hospital; “nice projections”; the powder the throw on wounds to stop you bleed to death; the gestures of ‘powerful’ art. I also thought “I shouldn’t rush to decide how much I like this show”.

The previous night I had very much enjoyed the first half of the Mark Morris show, was ‘full’ by the interval and felt I wasn’t left with a great deal to take home with me. Rosie’s piece I didn’t enjoy as much in the moment, but suspected that some things in it would stick with me rather more.

So it was. This morning on Radio 4’s Today program they broadcast the last of Major Richard Streatfeild’s dispatches from Afghanistan. His company are coming home after their tour of duty. He simply read a list of all those he commanded. Hearing this long list, full of nicknames and abbreviations connected powerfully with those bits of the show that had the soldiers just killing time together, teasing each other, getting on each others nerves and playing around. Those fictional characters connected powerfully with those real names some how giving them more substance.

The the end of list carried the names of the five who had died in the course of the tour. Relating this to Sarah later in the day it all got a bit too much and I was in bits, not so much because of the dead but because of the whole damn thing.

Pledge Review 2

Saturday, March 20th, 2010

Hamfisted! perform the Farmer and the Mermaid @ A E Harris. Inside a beautifully designed potato (brown geodesic dome), the audience of 15 sit on (not very) cushioned beer crates around the internal circumference and three performers squeeze between us.

They tell a fable, in simple story-teller fashion, of a love affair between a farmer, who farms a small island and a mermaid. There are gentle songs and minor bits of acting out. The potato’s door acts as an exit and allows large props to be brought in and removed. Throughout the design, is simple, playful and pleasing. The performances are sound. The script throws in enough discord to prevent the piece being too sweet. It is all gently enjoyable – Hamfisted! fulfilling their stated intention of “putting smiles on people’s faces”.

Suitable for kids, except mine, who refuses to even consider attending any theatre she’s not in – and even that she prefers not to stray from the front room. She has yet to sign the Theatre Pledge.

James

Pledge Review 1

Friday, March 19th, 2010

So, nearly two months into the year my first entry is made on my Theatre Pledge card:

Forever in Your Debt at the Arena Theatre, Wolverhampton (which I have been to before). Taking people to the theatre and hosting a party will have to wait but there is the commitment to posting twelve reviews/comments/blog entries about theatre. The implication is there should possibly be one per show.

The writing about theatre pledge was included in response to a complaint heard regularly that there is not enough debate around theatre. I sense that many people either lack a confidence in their own opinions, hold them too lightly or are afraid that, if expressed, they may upset people. Shame, shame, shame I say, we’re all grown-ups and if there’s no malice intended why should someone’s taste in art be held against them?

Theatre Pledge Review 1: Forever In Your Debt.

Foursight collaborating with Talking Birds is the coming together of two respected theatrical voices. The division of labour appears clear, the Birds are in the wings: Nick Walker provides a text full of deft touches and deadpan humour, Derek Nisbit assembles a series of crisp measured songs and Janet Vaughan has designed a pitched set, initially stark and strong, latterly fractured and broken; Foursight are directing things on stage, theirs is the bold ensemble acting, singing and slick playing.

Whilst pre-show shorthand has referred to this as ‘the debt show’ the subject remains curiously low in the mix. Research has included interviews with those struggling in debt, but the narratives are set in a fantastical world. A narrator has assembled a band, The Roulette’s, she plays a cleaner who rescues a potential suicide from a tower block due for demolition, each member of the band plays a member of the girl’s family. In turns their stories are told, mostly in song, until we know everyone’s back-story, why the youngest daughter wears an eye patch and her elder sister a fake moustache and copyboy hat, why the father has gone transsexual and mother wears ski goggles pushed up on her head.

It’s competently put together and executed with skill but by my measure it misses the mark. There are many lovely moments, but nothing builds or sustains. Though full of drama, the tales are recounted and little actually happens on stage.

This collaboration was a bold move and laudable as such. It appeared to match complimentary skills, yet the result is less than the sum of the talents of its team. Maybe a diffusion of vision has blurred the focus. Talking Bird’s understated form of Magic Realism meets Foursight’s ‘Lecoqian’ styalisation and unfortunately they diminish each other.

There we go anyone who reads this and feels moved to contradict me please do. That is what the pledge is about, stimulating debate.

James Yarker

Review: Billie Cowie & STK

Monday, March 15th, 2010

Tokyo2

Billie Cowie has two 3-D video projections installed at the Metropolitan Theatre space in Ikebukuro, Tokyo. Reverie Alone is best viewed lying on the floor. Projected onto the ceiling is an image of a woman, in white underwear (apparently there’s also a naked version). She appears to be holding on with her hands and feet to four handles on the ceiling. Slowly, in a seven-minute loop, she stretches and twists, swaps hands and feet, turns, arching her back and looking directly at us. Due to some visual trickery whilst appearing life sized when close to the ceiling when stretching her arms, legs and back appear extraordinarily long.

Though wonderfully executed, I found my fascination with the technical aspects of the piece overwhelming my appreciation of the artistic dimension. How is it the image stretches on this axis? Was it shot from above with the dancer on the floor or at some other angle? In the Flesh works the other way round and proved captivating.

Here you look down on large flat screen television and a small woman who is curled on the floor and works through a slow gently movement sequence taking her arms and legs to the edge for illuminated screen and apparently up towards us out of the screen. It was peaceful and touching, highly engaging.

Stoke Newington International Airport are a team of five young men who run a venue and make art in said borough of London Here, in the Super Deluxe Night Club the Roppongi district of Tokyo, they were hosting an event they call Live Art Speed Dating. In essence the speed-dating concept is a device for getting an audience of perhaps fifty though a series of six four minute long one-on-one performance encounters. As they were not up to audience capacity we managed to see a few more than six. Here they are in summery:

1: A Skype webcam link with a woman who is dressed in drag as a member of a boy band (remembering that members of certain boy bands tend to look like girls in their early careers. She lip-synchs to a terrible boy band song whilst fixing her gaze on you (or your image on her computer). It’s quite uncomfortable.

2: Pole dancing by a woman in a curious body stocking that extends over her head. The sound (which you listen to on headphones, is full of glitches and the lights flicker on and off). It’s quite uncomfortable.

3: A charming Japanese man shakes your hand over and beneath the table. A video projection of your clasped hands under the tale is projected onto a drawing pad on the table. He traces his finger over your hand and asks you to feel its path. Then together using oil pastels you draw your clasped hands. Very lovely.

4: Two of you listen as a DJ and human beat box do their thing. Nice enough.

5: You sit listening someone crooning a song and strumming a guitar via a string and paper cup telephone whilst watching through a telescope as a woman puts on a kimono and does a short dance. Very pleasant

6: A man plays you a song on the guitar and asks you to join him by playing a set of drum pads. Good (him) and Bad (me).

7: You watch a man across the bar as he falls in love and is rejected whilst a series of images on a laptop in front of you add a form of commentary. Sweet.

8: A man lets you play at twiddling the knobs on a piece of kit that generates geometric video graphics whilst music plays through your headphones. Brilliant fun.

The Stoke Newington Boys pump lots of good-natured energy into proceedings; dancing to the music and bustling around making sure no performance slots go to waste. They have recruited numerous other local acts I didn’t get to see. There are additional games to be played in the down time.

In one corner is a laptop logged on to an Internet chat-room, which pairs users randomly one–on–one. This means that for most of the evening there are images of a sullen, vacant, slumped young person projected onto the wall with occasional graphic images blokes masturbating. Very bad.

James

Ultima Censura by Rogue Play

Monday, December 14th, 2009

It is exciting to watch the Rogue Play take on The Custard Factory’s rather unloved theatre space and re-brand it as The Mixing Bowl. Their dynamic program of activity makes Stan’s Cafe look lazy. New Performances, poetry nights, comedy nights and work by visiting companies come round in swift rotation.

The other week I zoomed down to see Rogue Play’s installation piece Ultima Censura and was delighted to be led, not into the theatre but round and down into a half cellar space, high ceilinged and flooded. Huddled into the far end of the space ten domed hiking tents glowed. We picked our way to them over wooden pallets just proud of the water. In each tent a miniature installation addressed one of the Ten Commandments. Each audience member is asked to spend four minutes in each tent.

Inevitably the installations were of varying quality. Some were delicate and sensuously engaging – I enjoyed lying in the cosy nest of “Thou Shalt Rest on The Sabbath” thinking about The Children of Israel, the continuum of history and the lives of nomads. Others reflected their budgetary limitations and intense usage by feeling flimsy and worn out. There were some deft touches – following the somewhat flat “Thou Shalt Not Steal” in which you have the opportunity to pocket some lose change should you wish, “Thou Shalt Not Bare False Witness” shows you a video feed of activity within that previous tent. Three gently engaging encounters gave the piece a welcome live presence but missed the opportunity to respond to on the challenging nature of some of the commandments.

Ultimately the piece’s success should probably be measured by the quality of the thought processes it prompted in each of its audience members. Mostly I had a pleasant enough time without being provoked in any substantial way, yet, to its credit, a couple of strands of thought took me into territory I’ve not explored before and have stayed with me, which is a great thing for a show to be able to claim credit for. Strongest of all was the setting, the vision of the tents in the flooded cellar.

I look forward to catching up with more Rogue Play before too long. If you haven’t already, why not give them a go.

James

Theatre Pledge 2010

Friday, December 11th, 2009

Theatre Pledge 2010 cards have now been printed up and will be distributed hand to hand around the West Midlands theatre scene so keep an eye out for them. We will have a stash in the Stan’s Cafe office so feel free to call in and get one. We probably don’t want to stump up the postage to send them out to too many people, but you could try your luck and ask us via the contacts page. Alternatively you could download the pdf from the Pledge Page of this website and come up with a DIY one.

Late in 2010 there will be a special social event for everyone who takes and completes the pledge.

Pilot Night

Wednesday, December 9th, 2009

Last night saw another eclectic and exciting Pilot Night – this time hosted by Foursight Theatre at the Arena Theatre in Wolverhampton. In the foyer we were treated to carols, mulled wine and mince pies and two installation pieces: Needle & Thread invited us to choose a secondhand book in exchange for a story while Hamfisted showed us into their giant potato and asked us to leave a message about love. On stage there were 6 very diverse pieces. Francesca Millican Slater delivered an assured and witty performance lecture about heartbreak and how, if you feel the need, to do it yourself. The Silky Pair gave us a funny piece of character based comedy about a pair of TV documentary makers who try not to let their personal problems and lack of ideas stop them from making their film. Void Physical Theatre presented extracts from their show Manhandle and the Marina Sossi Group presented a simply told tale about a hunter and a fox backed by a great soundscape. Jonny from Hamfisted, with his head perched atop a pile of potatoes treated us to a moving and engaging monologue about Ireland, potatoes, farmers, mermaids and rain. I also really enjoyed Studio 38’s The Perfect Story which was chock full of ideas and some lovely visual moments.

So another great Pilot night which left me feeling a bit old but also excited by the diverse range of work out there.

Craig

The Just Price Of Flowers Review

Monday, December 7th, 2009

Here’s a link to Terry Grimley’s online review of The Just Price Of Flowers in The Birmingham Post.