“The cast never ease up, pushing forever onwards to the tragic ending”

Exchange Theatre are celebrating their tenth anniversary by resurrecting this, their  original adaptation of Jean Paul Sartre’s The Flies (or Les Mouches in its native tongue).

Written in 1943, it is based on the Greek classic tale of Orestes, with his newly rediscovered sister Electra, seeking to avenge the death of their father Agamemnon, king of Argos, by killing their mother Clytemnestra and her husband Aegisthus, who had deposed and killed Agamemnon

[Samy Elkhatib as Orestes – Meena Rayann as Electra]

Such fun! Or, rather it would be, if it wasn’t all so earnest and stuck on the one tragic, plodding level of trauma and angst. This is Greek melodrama at its usual intensity – full-on and earnest.

The cast never ease up, pushing forever onwards to the tragic ending. The 2014 National Theatre production of Medea showed how to tackle this material. It achieved so much with depth, humanity, comedy and tragedy by doing little in the staging, thereby allowing the actors and the words to be prominent.

The Flies Director David Furlong, I think hides behind gimmicks. The multi-screened video design adds nothing, the Flies/Furies crawl around the stage and are undressed only to be found in ridiculous fishnets and high-heels and some characters, at random, burst into song.

[David Furlong as Aegisthus – Fanny Dulin as Clytemnestra]

The highlight of the evening is the music supplied by three-piece A Riot In Heaven, adding an almost constant raw soundtrack of electric rock, creating a weird and appealingly metallic air to the play, with subtle whining and vamping. When they burst into full rock backing mode for the odd song, the whole production lights up. Orestes’ final burst of a Meat Loaf-esque finale shows the potential. Advertising the show as a thrilling rock-opera, though, is a tad over-the-top, but does hint at what could have been. A new Godspell is waiting in the wings, but it is only teased at here.

Perhaps that is the problem – is this rock opera, physical theatre, melodrama, anarchic, cutting edge political theatre? I don’t know. There is too much going on. Less can be so much more satisfying at times.

Photographer     Camille Dufrénoy

Director              David Furlong

Producer            Fanny Dulin

Designer            Ninon Fandre

Music                 A Riot in Heaven

Guidance           12+

Performances    Until 6th July – Tuesday to Saturday at 7.30pm

Performances in English, except these in French:

15th, 27th, 28th, 29th June and 2nd, 3rd, 4th July

Venue                The Bunker, 53A Southwark Street, London SE1 1RU

Nearest Tubes   London Bridge, Borough and Southwark

Tickets               Box Office 020 7234 0486 or online at www.bunkertheatre.com

Price                  £16 (£14 concessions) – Ten £10 tickets available for each performance for under 30s

Running Time    2 hours 10 (including an interval)

Twitter                @ExchangeTheatre @BunkerTheatreUK #TheFlies #LesMouches #TheFlies10Years

“I feel that I am not Australian enough to understand some of this”

Australian Environment Minister Gwen Malkin’s plan to stop climate change is rudely interrupted when a group of eco-terrorists storm Parliament House – two sides of the political spectrum perhaps, but, in the end, both want the same thing. Can they work something out? Can they have a rational conversation? Or will there be a bloodbath?

Kill Climate Deniers is actually like the above plot – two different plays sharing the same aim, but both unfortunately clash in an unnatural and forced setting. On the one hand there is the story itself, with a cast of five women playing a collection of bizarre characters. On the other, there is the writer, David Finnigan, introducing the piece and popping up throughout – at first wrestling with the name of the play and the legal journey he has been on and explaining that the title is not an instruction, but admittedly acknowledging that, because of it and the content of the play, he has made the project newsworthy.

[Bec Hill as Catch, David Finnigan as himself and Kelly Paterniti as Bekken]

The play began life in Australia way back in 2013 and has been performed out there, with public funding – a contentious issue in itself. Now it is in the UK and has also received Arts Council funding. And it has not escaped my attention that the piece has six Australian performers informing us about the likely consequences of climate change, even though their own carbon footprint in getting here can’t be helping!

That is unfair, I know. The cast are a strong collection of Aussie comedians and actresses who have been touring the UK for years, ie. not here just for this production. Felicity Ward plays Gwen M lkin with tongue firmly in cheek and portrays a Parliamentary Minister we would expect to see – one that can switch on the confidence and smiles for the camera, but is actually a bag of nerves and doubt.  She is assisted by her Press Officer Georgina Bekken, played with relish by Kelly Paterniti. Bec Hill plays the eco-terrorist Catch, the rebel with a cause to die for.

[Felicity Ward as Gwen Malkin]

In the end, the whole cast work hard with scant material. Director Nic Connaughton has achieved wonders with a script containing little depth, more a ragtag of sketches and jokes that plod the story along, limping to the inevitable endings: one play ends like a Rambo-esque massacre, the other with Finnigan’s own monologue about the state of Australian politics and what is at stake if meaningful and responsible conversations about climate change are not had.

[Bec Hill as Catch]

Sadly, I feel that I am not Australian enough to understand some of this: the jokes or references. The play also relies heavily on pop music – the soundtrack, although foot-tapping good… Has no one ever really asked if it needs to be there? Like Australia in Eurovision: what is going on?!? And, regarding the essence of the play, a certain Sir David Attenborough has already got this nation talking and thinking. Politicians, by their very nature, are reactive – seldom proactive. Thanks to Blue Planet II, they are beginning to act because of the public’s outcry – so Kill Climate Deniers has perhaps arrived here a little too late.

Photographer     Ali Wright

Playwright          David Finnigan

Director              Nic Connaughton

Producers          Maya Ellis and Jonny Patton

Designer            Prinx Lydia

Guidance           16+

Performances    Until 28th June – Tuesday to Saturday at 8pm, Sunday 6pm

Saturday Matinee 3.30pm

Venue                Pleasance Theatre, Carpenters Mews, North Road, London

N7 9EF

Nearest Tube    Caledonian Road (Piccadilly Line)

Tickets               Box Office 020 7609 1800 or online at www.pleasance.co.uk

Price                  From £12

Running Time    90 minutes (no interval)

Twitter                @KCDplay, @thepleasance, #KillClimateDeniersPlay

Cora Landry is a quiet , shy and self conscious 12 year old who falls victim to the vicious bullying inflicted by Jordan Petit. Cora lives in a nice house in a nice neighbourhood with her parents and her older sister Kendall .

Jordan Petit is the ‘It girl’ that every school has . She’s Pretty , popular and confident. Jordan lives with her grandad after being abandoned by her parents when she was young.

Violet Crow is the new girl in town . A sweet but timid girl who soon forms a friendship with Cora Landry. Violet lives in a small house in a rough neighbourhood with her mother and her older brother Max .

One normal sleepover has gruesome consequences. Cora is left beaten and bloody at a abandoned rail yard with her friends no where to be seen .

The small town of Pitch is left shocked and is asking who would want to hurt a young and innocent girl so brutally? Everyone is desperate for answers , Everyone is a suspect.

No one can be trusted

Tension builds as the investigation starts , suspects are questioned and rumours are invented.

A real page turner! I read this book in a couple of sittings, I was so gripped. I really enjoyed the fact that the awful story and the events leading upto it , are told from several different characters point of view and that the dialogue varies, which definitely made it so easy to read !

I did have several of those clichè moments , clapping my hand over my mouth in surprise or horror and physically squirming at the thought of something horrible !

Before she was found is a fine example of how cruel people can be towards each other and how the mind is so strong yet so fragile.

The ending will leave you feeling an array of emotions – it’s Awesome.

Before she was Found by Heather Gudenkauf
Paperback £7.99
Also available in eBook and audiobook

Natalie Jayne Peeke: http://www.thebookwormmother.co.uk

As someone who works independently, I am only too aware of how isolating it can be and whilst coffee shops can offer meeting space, they lack privacy and are rarely conducive to creative thought which is why I was so keen to learn more about Scratch Hub based in London’s iconic Battersea Arts Centre.

Located in the basement of the Battersea Arts Centre it’s hard to believe that just 4 years ago this space was badly flood damaged. Today it’s a light airy and flexible space that has different areas designed to foster different styles of working, incorporating areas for collaborating, working more quietly, holding meetings and even hosting launches.

A ‘Skills Bank’ offers members the opportunity to seek and offer expertise in areas such as marketing and IT, fitting perfectly with the ethos of the Scratch Hub. That ethos is one of collaboration, of sharing knowledge and offering encouragement and it continues to evolve in order to meet the needs of its users.

The Scratch Hub is launching an exciting season of free, inspirational sessions from July – September 2019. Scratch Hub Socials features trail-blazing and inspirational voices from a cross-sector of settings, such as well-known political performer, presenter and author Mark Thomas.

These workshops, conversations and networking events will bring people together to discuss the impact of creativity in both business and social enterprise.

The Scratch Hub coworking space is designed to stimulate London’s vibrant and diverse community of creatives, entrepreneurs, social enterprises, freelancers and start-ups.

Tarek Iskander and Liz Moreton

Tarek Iskander, Artistic Director and CEO of Battersea Arts Centre, ‘Thinking creatively, coming up with new ways of working, making connections and provocations – these things are all just as vital for businesses and social enterprises as they are for artists. ‘

A total of 150 memberships are available on a flexible or full-time basis. Memberships begin at £140 per month for 60 hours of flexible hot-desking and go up to £290 per month for a full-time, fixed desk space.

Event Dates   Wednesday 3rd July, 7pm     Creativity and Social Change

Wednesday 7th August, 7pm     Creativity and Business

Wednesday 4th September, 7pm     Creativity and Building Communities

Booking The events are free and can be booked online at www.bac.org.uk/scratchhub

Twitter  @battersea_arts  Instagram  @bacscratchhub  Telephone 0207 326 8254

Super Dad mug from Thumbs Up retails at £9.99

Adapting Sartre’s enduring fable of courage in the face of political oppression for the age of fake news and nostalgic nationalism, Exchange Theatre uses this timeless Greek tragedy to shine a light on our own politically turbulent times. This highly charged and dark tale of Orestes and Electra follows the siblings as they prepare to take revenge on their mother Clytemnestra and her husband, the tyrant Aegisthus, who controls his populace with false information.

Game of Thrones actress Meena Rayann steps into the role of Electra, introducing Samy Elkhatib as her vengeful brother Orestes, with Raul Fernandes (Quartier des Banques, RTS) as the God of Flies and Exchange co-founders David Furlong and Fanny Dulin as the tyrannical Aegisthus and Clytemnestra, The Flies is at The Bunker from 11^th June – 6^th July.

Exchange Theatre prides itself on its multicultural and diverse heritage and is thrilled to present The Flies in alternating French and English with a fully bi-lingual cast.

The Flies is at The Bunker Theatre, 53a Southwark Street, SE1 1RU, running from 21^st June – 6^th July.

Tickets can be booked here: https://www.bunkertheatre.com/whats-on/the-flies-les-mouches/about

Images courtesy of Exchange Theatre.

One of our reviewers loved this retro Console by Thumbs Up Look at it, doesn’t it bring back memories, or aren’t you as old as I am. If that’s the case, then enjoy the newness of this image.

Our reviewer and his mates played over the Bank Holiday – well, it was raining much of the time and they had hours of challenging gaming.

Looks good, works well. And packed with over 274 16-bit games: shooting arcade, puzzle and sports activities what’s not to like.

Nostalgia is big at the moment, and this is state of the art nostalgic gaming. It flew high in the 80s. Could well repeat now: fun but tense, they loved it.

This plugs directly into your TV, has two controllers for multi-player use. RCA and power cables included. It will make a fabulous present.

Orb Gaming Retro Console, £34.99 from Thumbs Up.

Annie Clarke’s new novel Girls on the Home Front is published on 29th May

Three limited edition books (hand numbered from 1 to 1000) of Mrs Dalloway is released on 3^rd June  by Parisian publisher SP Books. These bring together the three handwritten notebooks in which Virginia Woolf wrote the classic text in one pretty special hand-bound edition.

The volumes represent a return to ‘slow reading’ in a digital age, offering an intimate insight into the writer’s mind and thought-process, and giving new life to a well loved classic.

The interesting manuscripts includes revisions, crossed out passages and personal memos in the margins in Woolf’s own handwriting, and are of interest in their own right as a design object, the perfect coffee-table centrepiece or addition to a curated bookshelf.

Over the course of time between June 1923 and October 1924, Virginia Woolf wrote in three notebooks the first full-length draft of what was to become Mrs Dalloway

Clarissa Dalloway had already made several appearances in Woolf’s writings, in her first novel The Voyage Out and the short stories ‘Mrs. Dalloway in Bond Street’ and ‘The Prime Minister’. In a diary entry for October 1922, Woolf notes that she planned to write a novel about ‘Mrs Dalloway seeing the truth’, in which her heroine was supposed to commit suicide. Yet in her notebooks, Woolf develops the story of another character, shell-shocked war veteran Septimus Warren Smith, the anti-Clarissa that ends up committing suicide in her place. To fax your documents or files in a better and a more medern setup you can click here to find out more

Woolf would write in her diary of Mrs Dalloway:

“I meant to write about death, but life came breaking in as usual”. Thus the draft of  The Hours,intended to be a narrative about London after WWI, develops into the parallel lives of Clarissa and Septimus, in a London at once restored to itself and irrevocably changed by the war.

In 1941, after Woolf’s death, her husband Leonard Woolf sent the manuscript of ‘The Hours’ to her friend and lover Vita Sackville-West, who kept it until her own death in 1962. A year later, it was purchased by the British Museum Department of Manuscripts, now part of the British Library. ‘The Hours’ represents the only full-length manuscript draft for ​Mrs Dalloway, revealing different initial versions of the final text.    Leonard describes the notebooks in which Woolf wrote her text as bound in the ‘coloured, patterned Italian papers’ of which she was very fond. The volume shows the substantial additions, changes and corrections that Woolf made to her manuscript, revealing her creative process in flowing purple ink. Woolf draws pencil margins on each page of the notebooks, in which she records the date, word count and many other insertions, sometimes including personal memos and notes for her essays.

The notebooks reveal Woolf’s hesitation between two possible titles, recording the shift by which Clarissa Dalloway becomes the central focus of the novel. Initially titled ‘The Hours?’, the work is renamed ‘The Hours or Mrs Dalloway’, before settling on ‘Mrs Dalloway (or The Hours)’ in the third notebook. The manuscript also reveals an alternative opening describing the bells and temples of Westminster, which is revised in the second notebook to the well-known inaugural line: ‘Mrs. Dalloway said she would buy the flowers herself.’

The text is accompanied by two essays by leading Woolf experts. Helen Wussow, dean at The New School, New York, has published an edited transcription of ‘The Hours’ entitled ​Virginia Woolf ‘The Hours’: The British Museum Manuscript of Mrs Dalloway’ (New York: Pace UP, 1996). Michael Cunningham is an American novelist and screenwriter, author of Pulitzer Prize-winning The Hours (1998), based on the life of Virginia Woolf and inspired by Mrs Dalloway.

SP Books  is an independent and acclaimed publishing house founded by Jessica Nelson and Nicolas Tretiakow in Paris in 2012, specialising in the publication of limited facsimile editions of manuscripts from some of history’s most renowned authors such as Jules Verne, Lewis Carroll, Jean Cocteau and Charles Baudelaire.

Each limited edition book is hand-numbered from 1 to 1000, and from 3 June is available for £180 from spbooks.com. An exclusive foreword from Pulitzer Prize-winning author Michael Cunningham is printed alongside the manuscript.   RRP: £180 www.spbooks.com

Images courtesy of sp books

Annie Clarke is the author of Girls on the Home Front.