Tag Archives: Theatre

The Shakespeare Conspiracy | Theatre Review

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 The Shakespeare Conspiracy by Andrew Shepherd is not only a brilliant piece of theatre, but it will also keep you guessing all the way through. Full of twists and turns, the Shakespeare Conspiracy is original and incredibly intelligent. Triumphant theatre in two wonderful acts.

The play is superbly directed by Jack Bowman, Bowman has created a well oiled machine which never dips or loses its energy. Full of pop culture references and brilliant gags, The Shakespeare Conspiracy is riveting.

A special mention must be given for the impressive and realistic fight scenes. They really are something to behold.

The play focuses around Martin Shakespeare, the last remaining descendent of Shakespeare, who is working as a travel agent in Stratford. Martin gets caught up in a  400 year old conspiracy involving The Royal Shakespeare Company, which far from being a theatre company, is actually a branch of government like MI6, and a prison, The Globe Theatre. It turns out that Shakespeare’s characters are real.

The cast of twenty are all well cast and brilliant at their parts. A special notice should be given to Jack Baldwin and Libby Evans as Benedict and Beatrice. They have amazing chemistry and I could not watch them without thinking of the brilliant film, His Girl Friday. Richard Armah as Garfield Oberon and Lee White as Edmond also deserve a special mention.

Andrew Shepherd as Iago  was also brilliant. Andrew is eloquent with a wonderful stage presence. There is a funny part int he play when Iago blames his mother for making him a villain. ‘You never had a mother Iago, you are fictional’ he is reminded.

This play is intelligent and witty. You can easily follow it if you concentrate, and you should concentrate, so you do not miss even a second of this stunning play. A must see.

 

Twitter: @tsc61112
Venue: Chelsea Theatre (on the King’s Road – nearest tube Sloane Square Underground, or 11, 22 Bus to Edith Grove/World’s End)
Production Company: www.ascrandom.co.uk

A Midsummer Night’s Dream | Theatre

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A Midsummer Night’s Dream

 

Lazarus Theatre Company – www.lazarustheatrecompany.webs.com

27 November – 15 December

 

A Spell-binding and Striking Re-Imagining

 

Lazarus Theatre Company returns to the Blue Elephant to herald in Christmas with a touch of magic and enchantment.

One of Shakespeare’s best-loved comedies, A Midsummer Night’s Dream is transported to a frozen forest by a company whose work is “a superb lesson in how to adapt an old classic for a contemporary audience” (Spoonfed).

High in the mountains, four young lovers find themselves far from home, following romance at all costs. With the fairies at hand to weave their spells, nothing is quite as it seems until confusion gives way to happy-ever-after.

“If you know anyone unsure of Shakespeare then take them to see this and have them fall in love!”    

Dave Jordan, WhatsonStage on Macbeth

 

Director and Designer: Ricky Dukes

Composer: Phillip Ryder

Lighting Designer: Alex Musgrave

Costume Designer: Rachel Dingle

 

Cast: Benjamin Archer, Michael Bagwell, Alice Brown, Lucy Fyffe, Julie Gilby, Sheila Grant, Cameron Harle, Alexandra Harman, Ewa Jaworski, Angela Jimenez, Danny Lawrence, Stuart Mortimer, Jen Painter, Sian Stephenson, James Taylor Thomas & Joseph Tweedale.

 

Dates: Tuesday 27 November – Saturday 15 December (Tuesday – Saturday only)

Times: 8pm (Wednesday matinees at 4pm on 5 and 12 December)

Tickets: £15 (£10 conc. and previews Tuesday 27 and Wednesday 28 November), £9 Southwark residents

 


Venue: Blue Elephant Theatre, 59a Bethwin Rd, Camberwell, SE5 0XT (entrance on Thompson Ave)

Nearest tube: Oval (Northern Line)

Wheelchair accessible

Box Office: 020 7701 0100/084 4477 1000

www.blueelephanttheatre.co.uk

info@blueelephanttheatre.co.uk

Twitter: @BETCamberwell


Calendar Girls | Theatre Review

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Tim Firth’s phenomenally successful Calendar Girls has been performed on stage and movie screens across the globe but its run at the local Ealing theatre hut, Questors, is where the drama really comes to life.

Even without Helen Mirren or an expendable budget, the Questors simple props and am-dram cast came together to offer a moving, personable, and simply fantastic adaptation.

After all, simple props such as baked buns and flower-pots were the only items used to protect the women’s modesty for the calendar photo shoot.

From the opening scene of the Women’s Institute partaking in tai chi to the moment they decide to strip for the famous Yorkshire charity calendar, the bonds of friendship are evident both on and off the stage.

Despite the different personalities, from loud Cora, to life-experienced Jessie and the snobbish Celia, once Annie’s husband dies from Leukaemia, they harmonise to raise money for a communal sofa for the hospital which looked after John Clark.

And as the group debate the morality of an artistically ‘nude’ calendar (as opposed to the more common ‘naked’), we shared their every musing from lack of confidence, embarrassment to final empowerment and financial success.

Hannah Whiteoak who plays Ruth was a particular treat to witness.

Her slightly timid, introverted character was played out to comedic effect which balanced the heavier plot of illness and death.

And just when you’re not sure whether she’ll take part in the photo-shoot, she outshines all the ladies as she confidently stretches out her body on the table as fruit envelopes her humility.

Directed by Rachel Knightley (her first production), there were two scenes which really impressed.

In a sombre moment when John’s dying, the women all group together and stand around his wheelchair.

As his lines fade and the lights are dimmed, Annie’s lines overlap John’s as he slowly walks away into the shadows of the stage. It was very touching.

Another clever use of the set was when the WI received all the fan mail after sales of the calendar rocketed both in Yorkshire and abroad.

Letters were dropped to the floor from stage scaffolding above which was very novel.

Despite its amateur status, this is a fine production from Questors and a promising start for new director Rachel Knightley. It had me laughing and caught me crying at all the right moments.

Calendar Girls is running at Questors till Sat 10 Nov. To book tickets, visit: http://www.questors.org.uk/event.aspx?id=364

All photos are by Richard Mead.

Louisa Norman presents TAPE | Theatre

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Louisa Norman presents 
TAPE 
written by Stephen Belber, directed by Thomas King, designed by Alex Marker
cast: Darren Bransford, Marc Elliott, Kate Loustau

at Trafalgar Studios from 10 October to 10 November

 

With his EastEnders’ exit imminent, Marc Elliott (who plays Syed Masood in the soap) joins the cast of Stephen Belber’s acclaimed play Tape, in the dark and brooding role of Vince. A high stakes and suspenseful exploration of memory, truth and perception, Tape comes to the Trafalgar Studios for its first West End run, ten years on from its New York premiere.

 

Aspiring filmmaker Jon meets up with his best friend from high school, Vince – a volatile drug-dealing dropout. The conversation soon turns to Amy, Vince’s first love, whom they both dated. Vince finally gets Jon to confess a disturbing secret, only then to admit he has taped the entire conversation and that Amy is about to arrive any minute.

 

Marc joined the cast of EastEnders as Syed Masood in 2009, winning the 2010 British Soap Award for Best Newcomer. The character’s controversial storyline involved him coming out and living as a gay man in a Muslim family. He announced his departure from the series and finished filming in September, with his dramatic exit broadcast in November. His theatre credits prior to EastEnders included the National Theatre’s hit production The History Boys. Tape marks his return to the stage.

 

Tape premiered in 2002 at New York’s Jose Quintero Theater produced by Naked Angels, who transferred the production to London’s Soho Theatre in 2003. The play was also adapted into a feature film starring Ethan Hawke (in the role of Vince, now played by Marc Elliott) and Uma Thurman.

 

ONLINE:  www.tapetheplay.com · Facebook.com/tapetheplay  · Twitter: @tapetheplay

 
Venue  Trafalgar Studios (Studio 2), 14 Whitehall Place, London, SW1A 2DY
Dates  10 October – 10 November (Monday to Saturday)
Times  7.45pm + 3pm matinees on Thursday and Saturday
Box office 0844 871 7632 / 0844 847 2345 (Ticketmaster)
Tickets  £27.50 / £24.50 (+ £1 restoration levy)

Previews (10/11 October): £14 (+ £1 restoration levy)

+ booking fee

58th London Evening Standard Theatre Awards, in association with Burberry

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Cate Blanchett, Anne-Marie Duff, Rupert Everett, Adrian Lester, Eddie Redmayne, Joely Richardson, Michael Sheen, Sheridan Smith and David Suchet are among the stage stars tipped

 

 

The London Evening Standard today unveils the longlist for its 2012 Theatre Awards, presented for the first time this year in association with Burberry.

 

·       In a remarkable year for Nicholas Hytner’s National Theatre, it leads the longlist with 22 entries; followed by the Royal Court with 13.

 

·       With four nods, the most longlistedplay this year is The Curious Incident of the Dog in the Night-time, Simon Stephens’ adaptation of Mark Haddon’s novel about a boy with Asperger’s.

 

·       Olympic Closing Ceremony set designer Es Devlin is longlisted in the Design category for The Master and the Margarita, at the Complicite at the Barbican.

 

·       Eddie Redmayne, Simon Paisley Day and Michael Sheen battle it out for Best Actor with their leading Shakespeare roles in Richard II, Taming of the Shrew and Hamlet.

 

·       It is a good year for women, with inaugural productions from new female artistic directors recognised and a host of stellar performances in strong female roles.

 

·       This year a new award has been announced with the Burberry Award for Emerging Director. The award celebrates a young director who is set to be a star of tomorrow’s London stage.

From Hollywood A-listers to Britain’s most celebrated playwrights, the longlist for the 2012 London Evening Standard Theatre Awards, in association with Burberry, puts an array of big names – and rising stars – in the running for a statuette. All are recognised for contributing to a stellar year in the capital’s theatres.

This year’s winners will be revealed at an evening dinner and Awards ceremony, presented by One Man, Two Guvnors star James Corden at the Savoy Hotel on Sunday 25th November 2012.

The event is co-hosted by London Evening Standard Owner Evgeny Lebedev, Burberry Chief Creative Officer Christopher Bailey and American Vogue Editor-in-Chief Anna Wintour.

 

The longlist reflects a heavy-weight year for women, with the Natasha Richardson Award for Best Actress category featuring some of the biggest female roles for the stage. Three Ibsen plays provided meaty roles for: Sheridan Smith, thrilling as the capricious Hedda in Hedda Gabler; Hattie Morahan, moving as the trapped housewife Nora in A Doll’s House; and Joely Richardson, luminous as Ellida in Lady from the Sea. In this role, Richardson follows her mother Vanessa Redgrave’s 1979 portrayal and the 2009 performance of her late sister, Natasha, in whose memory this award is given.

 

Cate Blanchett’s sellout performance as Lotte in the translation of German play Big and Small is also recognised, along with Imelda Staunton’s Mrs Lovett in the hit West End production of Sweeney Todd.

 

It is a good year for women behind the scenes too, with two new artistic directors hitting the mark with their inaugural productions. New Donmar chief Josie Rourke is up for Best Director for her exciting staging of The Recruiting Officer. At the Tricycle, Indhu Rubasingham’s opening production, new play Red Velvet, wins a longlist place for its first-time author, Lolita Chakrabarti, in The Charles Wintour Award for Most Promising Playwright category. Red Velvet also offers Adrian Lesterthe chance to pick up the award for Best Actor, as real-life 19th century black actor Ira Aldridge, who was hounded off the London stage.

 

Also featuring on the longlist is Es Devlin, the Olympic Closing Ceremony set designer whose work for Master and the Margarita puts her in the Best Design category.

 

Battling it out with Lester and others for Best Actor are Eddie Redmayne, Simon Paisley Day and Michael Sheen – all for their leading roles in Shakespeare productions, with Redmayne playing Richard II at the Donmar Warehouse, Paisley Day playing Petruchio in Taming of the Shrew and Sheen in the Young Vic’s production of Hamlet.

 

The most longlisted play this year is The Curious Incident of the Dog in the Night-time, Simon Stephens’ adaptation of Mark Haddon’s novel about a boy with Asperger’s. The National Theatre production, in the Cottesloe space, is mentioned in four categories:  Best Director, Best Play, Best Actor and Best Design.

 

Two musical productions that originated at the Chichester Theatre and transferred to the West End are rivals for the Ned Sherrin Award for Best Musical: Sweeney Todd and Singin’ in the Rain. The consistently strong fringe venue Southwark Playhouse also fields two shows in this category: Floyd Collins (directed by Derek Bond) and Mack & Mabel (directed by Thom Southerland).  Swallows and Amazons, which features the music and lyrics from Divine Comedy’s Neil Hannon, is also in the running.

 

The National Theatre leads the longlist, with 22 entries across its three stages. Next, the Royal Court, home of new writing, has 13.

 

This year’s awards has eight categories: with Best Play, Best Director, Best Actor, Best Design, Natasha Richardson Award for Best Actress, Ned Sherrin Award for Best Musical, Milton Shulman Award for Outstanding Newcomer and Charles Wintour Award for Most PromisingPlaywright – an award named in memory of the former Editor of the Evening Standard and Anna Wintour’s father.

 

In addition to eight longlisted awards, which are decided by a panel of theatre critics and London Evening Standard’s editor, Sarah Sands, five other special awards will be presented on the night. These are the Burberry Award for Emerging Director (new for this year), the Lebedev Special Award, the Editor’s Award, Beyond Theatre and the Moscow Art Theatre’s Golden Seagull.

 

The shortlist will be announced in the London Evening Standard on 12 November.

 

The London Evening Standard Theatre Awards 2012 in association with Burberry.

 

BEST PLAY

 

Choir Boy  by Tarell Alvin McCraney,  (Royal Court Upstairs)

 

Constellations by Nick Payne (Royal Court Upstairs)

 

The Curious Incident of the Dog in the Night-Time by Simon Stephens (National’s Cottesloe)

 

Jumpy by April De Angelis (Royal Court Downstairs)

 

The Last of the Duchess by Nicholas Wright (Hampstead)

 

Love and Information by Caryl Churchill  (Royal Court Downstairs)

 

Love Love Love by Mike Bartlett (Royal Court Downstairs)

 

Reasons to Be Pretty by Neil LaBute (Almeida)

 

South Downs by David Hare (Chichester Minerva)

 

This House by James Graham (National’s Cottesloe)

 

The Witness  by Vivienne Franzmann (Royal Court Upstairs)

 

 

BEST DIRECTOR

 

Benedict Andrews for Three Sisters (Young Vic)

 

Lucy Bailey for Uncle Vanya (The Print Room)

 

Tom Cairns for Scenes from an Execution (National’s Lyttelton)

 

Carrie Cracknell for A Doll’s House (Young Vic)

 

Marianne Elliott for The Curious Incident of the Dog in the Night-time (National’s Cottesloe)

 

Polly Findlay for Antigone (National’s Lyttelton)

 

Sean Foley for The Ladykillers (Gielgud)

 

Jeremy Herrin for This House (National’s Cottesloe)

 

Nicholas Hytner for Timon of Athens (National’s Olivier)

 

Jonathan Kent for Sweeney Todd (Chichester Festival and Adelphi)

 

James Macdonald for Love and Information (Royal Court Downstairs)

 

Roger Michell for Farewell to the Theatre (Hampstead)

 

Lindsay Posner for Noises Off  (Old Vic)

 

Ian Rickson for Hamlet (Young Vic)

 

Josie Rourke for The Recruiting Officer (DonmarWarehouse)

 

Lyndsey Turner for Philadelphia, Here I Come! (Donmar Warehouse)

 

 

BEST ACTOR

 

Simon Russell Beale, Collaborators (National’s Cottesloe)

 

Charles Edwards, The King’s Speech (Wyndham’s) and This House  (National’s Cottesloe)

 

Rupert Everett, The Judas Kiss (Hampstead)

 

Laurence Fox, Our Boys (Duchess)

 

David Haig, The Madness of George III (Theatre Royal Bath and Apollo)

 

Douglas Hodge, Inadmissible Evidence (Donmar Warehouse)

 

Alex Jennings, Collaborators (National’s Cottesloe)

 

Rory Kinnear, The Last of the Haussmans (National’s Lyttelton)

 

Adrian Lester, Red Velvet (Tricycle Theatre)

 

Simon Paisley Day,  The Taming of  the Shrew (Shakespeare’s Globe)

 

Eddie Redmayne, Richard II (Donmar Warehouse)

 

Adrian Scarborough, Hedda Gabler (Old Vic)

 

Michael Sheen, Hamlet (Young Vic)

 

Scott Shepherd, Gatz (Elevator Repair Service at Noel Coward)

 

David Suchet, Long Day’s Journey Into Night (Apollo)

 

Luke Treadaway, The Curious Incident of the Dog in the Night-time, (National Theatre’s Cottesloe)

 

 

NATASHA RICHARDSON AWARD FOR BEST ACTRESS

 

Eileen Atkins, All That Fall (Jermyn Street)

 

Pippa Bennett Warner, The Witness (Royal Court Upstairs)

 

Eve Best, The Duchess of Malfi (Old Vic)

 

Cate Blanchett, Big and Small (Sydney Theatre Company for Barbican)

 

Anna Chancellor, The Last of the Duchess (Hampstead)

 

Anne-Marie Duff, Berenice (Donmar Warehouse)

 

Mariah Gale, Three Sisters (Young Vic)

 

Tamsin Greig, Jumpy (Royal Court Downstairs andDuke of York’s)

 

Sally Hawkins, Constellations (Royal Court Upstairs)

 

Martina Laird, Moon on a Rainbow Shawl (National’sCottesloe)

 

Helen McCrory, The Last of the Haussmans (National’s Lyttelton)

 

Laurie Metcalf, Long Day’s Journey Into Night (Apollo)

 

Hattie Morahan, A Doll’s House (Young Vic)

 

Joely Richardson, The Lady from the Sea (Kingston’s Rose Theatre)

 

Sheridan Smith, Hedda Gabler (Old Vic)

 

Imelda Staunton, Sweeney Todd (Chichester and Adelphi)

 


NED SHERRIN AWARD FOR BEST MUSICAL

 

Floyd Collins (Southwark Playhouse)

Directed by Derek Bond

 

Mack & Mabel (Southwark Playhouse)

Directed by Thom Southerland

 

Singin’ In the Rain (Chichester Festival and Palace Theatre)

Directed by Jonathan Church

 

Swallows and Amazons (presented by the National Theatre in association with The Children’s Touring Partnership at the Vaudeville Theatre)

Music and lyrics by Neil Hannon

Script by Helen Edmundson

Directed by Tom Morris

 

Sweeney Todd (Chichester Festival and Adelphi)

Directed by Jonathan Kent

 

Top Hat (Aldwych)

Directed by Matthew White

Adaptation for Stage: Howard Jacques and Matthew White

 

 

BEST DESIGN

 

Hildegard Bechtler, Top Hat ( Aldwych)

 

Miriam Buether, Wild Swans (A Young Vic/American Repertory Theatre/Actors Touring Company co-production)

 

Bunny Christie, The Curious Incident of the Dog in the Night-time (National’s Cottesloe)

 

Kevin Depinet, Detroit (National’s Cottesloe)

 

Es Devlin, The Master and Margarita (Complicite at Barbican)

 

Soutra Gilmour, Inadmissible Evidence (Donmar Warehouse ) and Antigone (National’s Olivier)

 

Richard Kent, Richard II (Donmar Warehouse)

 

Ian MacNeil, A Doll’s House (Young Vic)

 

Peter McKintosh, Noises Off (Old Vic)

 

Vicki Mortimer, The Last of the Haussmans (National’s Lyttelton)

 

Lucy Osborne, The Recruiting Officer (Donmar Warehouse)

 

Michael Taylor, The Ladykillers (Gielgud)

 

Jamie Vartan, Misterman (National’s Lyttelton)

 

 

 

CHARLES WINTOUR AWARD FOR MOST PROMISING PLAYWRIGHT

 

Stephen Beresford, The Last of the Haussmans (National’s Lyttelton)

 

Lolita Chakrabarti, Red Velvet (Tricycle)

 

Ishy Din, Snookered (Bush)

 

Vickie Donoghue, Mudlarks (Bush)

 

Nancy Harris, Our New Girl (Bush)

 

John Hodge, Collaborators (National’s Cottesloe)

 

Luke Norris, Goodbye to All That (Royal Court Upstairs)

 

Nicholas Pierpan, You Can Still Make a Killing (Southwark Playhouse)

 

Tim Price, Salt, Root and Roe (Trafalgar Studios)

 

Hayley Squires, Vera Vera Vera (Royal Court Upstairs andTheatre Local Peckham)

 

Tom Wells, The Kitchen Sink (Bush)

 

 

THE MILTON SHULMAN AWARD FOR OUTSTANDING NEWCOMER

 

Jonathan Bailey, South Downs (Chichester Minerva and Harold Pinter)

 

Denise Gough, Our New Girl (Bush) and Desire Under the Elms (Lyric Hammersmith)

 

David Fynn, She Stoops to Conquer (National’s Olivier)

 

Cush Jumbo, She Stoops to Conquer (National’s Olivier)

 

Abby Rakic-Platt, Vera Vera Vera (Royal Court Upstairs and Theatre Local Peckham)

 

Matthew Tennyson, Making Noise Quietly (Donmar Warehouse)

 

Joshua Williams, Shivered (Southwark Playhouse)and  Love and Information (Royal Court Upstairs)

 

Emi Wokoma, Soul Sister (Hackney Empire and Savoy)

 

Theatre Collection Presents Pinky Cagebirds

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If you are looking for a top night out at the theatre go and see the latest play from the Theatre Collection.
After David Campton

“There is nothing either good or bad, But thinking makes it so”.
William Shakespeare

Set in a bird-cage, each of the birds is totally absorbed in her own particular characteristics. But then the Mistress introduces the Wild One who tempts them to fly for freedom.

Directed by Victor Sobchak

October 30 – November 11

Tuesday – Saturday 7:30pm
Sunday 5pm

Tickets: £12/10

Booking:

www.theatrecollection.net

Phone: 07966597190

 

Theatre Collection

51 Camden Park Road

London NW1 9BH

www.theatrecollection.net



THEATRE COLLECTION was founded in 2009 by Victor Sobchak (Artistic Director) and Shaban Arifi (Producer,Director and Actor)

TC is the sequel of the highly acclaimed ‘ART-VIC’(Anglo-Russian Theatre) and ‘Act Provocateur Int.’ With a history spanning for 15 years.

During this period our companies have produced over 100 productions which gained great interest and awards from both audiences and Press all over the world.

We have performed at 11 Edinburgh Fringe Festivals and in various National and International festivals in USA, Africa, Europe and Russia.

TC will continue to justify its name presenting to the audience a collection of very different styles: from medieval farce to experimental theatre, from classic to modern International drama and new writing.

The Man on Her Mind

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The Man on Her Mind is a subtle comedy exploring the reality of relationships against the imagination of the soul.

 

Set in the heart of Manhattan, Eleanor anxiously waits for her lover in her 32nd floor studio flat as she disgustedly deletes the countless voice messages of another suitor, Leonard.

 

Never knowing when boyfriend Jack will arrive, once the confident banker breezes into the room, the chemistry between the pair’s evident as they flirt over a glass of wine and he affectionately calls her ‘Nellie’.

 

Jack’s forced to hide in the bathroom as Janet, Eleanor’s older sister, pops by to get the gossip on her love life and quizzes her on why she’s not returned her neighbour’s calls.  

 

Sibling rivalry is evident in the interaction; Janet wants to make Eleanor jealous of her ‘perfect’ suburban family life, mocking her sister’s tiny flat and sporadic lifestyle.

 

The scene then cuts to Leonard’s house.

 

A slightly nervous character, the audience sees the cluttered state of his mind with dozens of large boxes still waiting to be unpacked despite him moving in several months ago.

 

Janet and her husband Frank invite themselves in (he tends to leave it wide open) and do their best to find out more about their neighbour who they’ve already marked as Eleanor’s perfect match.

 

However, once the couple leave, Leonard’s girlfriend confidently strolls down the stairs.

 

And surprisingly, it’s Nellie, the imaginary concept of Eleanor.

 

Similarly, Leonard is the physical embodiment of the subconscious Jack.

 

Ironically, the real Eleanor hates the real Leonard, but somehow he’s manifested himself into her imagination as the perfect man Jack.

 

And Nellie has been formed from Eleanor, the girl Leonard desperately tried to call and hoped to date. 

 

Once the imaginary Nellie and Jack meet, they play the part of guardian angels, willing their real selves to start a relationship.

 

And it’s only a matter of time before Eleanor drops her defences and gives Leonard a chance where they both discover they’re truly soul mates.

 

Written by Alan Hruska and directed by Bruce Guthrie, the pair have composed an original and enigmatic stage production at Charing Cross Theatre for the autumn.

 

Amy McAllister, who played both Nellie and Eleanor, was the standout actress, delivering a charismatic performance, adapting her persona to fit both the real and imaginary characters.

 

The themes of love and rivalry were wonderfully played out and the serious idea of what’s real and what’s imaginary was handled with a refreshing comedic twist.

 

The Man on Her Mind is showing at Charing Cross Theatre till 27 Oct 2012.

www.charingcrosstheatre.com.

 


Theatre Review by Phil Ryan of Trash by Tom Hunt at the Space East London

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Trash by Tom Hunt directed by Kim Moakes
Produced by LittleBerry Productions

A strong ensemble piece with a slightly frantic pace the audience seemed delighted at this witty and cleverly written piece. The subject matter was well chosen and quite competently explored. A difficult ask of a director, the very large cast (and I think the cast was a little too large) Kim Moakes delivered a bold and amusing vision of a student house with an alternative twist.
Despite the rather unwieldy size of the cast there were some standout performances. These included the nicely laconic Noor Dillan-Night ably and cleverly channelling a wannabe urban revolutionary and excellent and strong physical comedy from Adeline Waybey who perfectly captured the bawdy street persona of wild child freagan Vikki. A special mention is Alexis Coward who delivered a wonderful other wordly performance as Curly Kat, brilliantly inhabiting a child-like modern hippy girl who at times appeared to be in a world of her own.
At the risk of repetition the piece did struggle at times due to the large 12 strong cast with certain parts highly confusing as so much was going on. Plus the acoustic properties of the space itself made certain sections quite overpowering. But that said much of the audience seemed to enjoy the slightly muddled and noisy interactions. And my belief is when a full capacity audience are laughing constantly and uproaringly the play must be doing something right. With elements of high farce the piece was both entertaining and funny to watch. Finally I was very heartened at the broad age range of the audience demonstrating that LittleBerry productions can deliver a mainstream piece of theatre and should go from strength to strength.

Definitely one to watch.

Phil Ryan 16th September 2012