Tag Archives: Theatre

The Fringe Report Awards 2012

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John Park has run the Fringe Report for ten years, and I am as unhappy as the other 400 odd people who turned up to the Fringe Report Awards that The Fringe Report is ending this year. John has run the Fringe Report without profit and has connected everything and everyone on the fringe of London, and indeed, the UK.

James Aylett, James Yardley and Lynn Howes.

The Fringe Report Awards took place at Monday 6 February 2012 at The Leicester Square Theatre. The Leicester Square Theatre was packed with the great and good of Britain’s theatre and acting talent. [Disclaimer: I am an editor, writer and photographer for the Fringe Report].

Jack Bowman and Catherine Balavage

The awards were as fun as ever and the list of winners is below. Goodbye to the Fringe Report. The fringe now weeps at your loss.

Elliot Grove – Outstanding Achievement Award – Film
Steve Forster – Best PR – Theatre
Flavia Fraser-Cannon – Best Creative – Producer, Photographer, Publicist
Paul L Martin – Best Producer – Cabaret
Sibyl Madrigal – Best Music Curator (for Boat-Ting)
Performers Without Borders – Best Encouragers of Talent
Steve Henwood & Wendy Matthews – Best Festival Directors
Guy Chapman – Outstanding Achievement Award – PR
Kiki Kendrick – Best Creative – Actor and Writer
Becky Talbot – Best Presenter – Radio
Kevin Sampson – Outstanding Achievement Award – Literature & Film
Vocal Motions Elastic Theatre – Best Theatre Company
Sasha Regan – Best Venue Director
Adam Morley – Best Director – Theatre & Film
Ricky Dukes – Best Artistic Director (Lazarus Theatre Company)
James Hyland – Best Performer – Solo Show (for A Christmas Carol / Jacob Marley)
Paul Sayers & Simon Bolton – Best Shakespeare Producers (Rooftop Theatre)
Paul Levy – Best Publisher
Tactful Cactus – Best Short Film (for Starcrossed)
Alison Wright – Best PR – Arts
Stuart Price – Best Creative – Director & Writer
Laura Pitt-Pulford – Best Performer – Musical (for Parade at Southwark Playhouse)
Alexander Parsonage – Best Artistic Director (Finger In The Pie)
Andy McQuade – Best Director – Theatre
Catherine Brogan – Best Poet

The Wireless Theatre Company Presents THE STRANGE CASE OF SPRINGHEEL'D JACK

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The multi-award winning* Wireless Theatre Company proudly presents its first-ever audio serial:

THE STRANGE CASE OF SPRINGHEEL’D JACK

Starring Julian Glover.

Synopsis:

London, 1837. An inhuman fiend stalks the night. With no time to lose, brilliant young police constable, Jonah Smith, must unmask the monster before he strikes again. Follow our hero on a terrifying adventure as he races to solve… The Strange Case of Springheel’d Jack!  

Episode One: http://wirelesstc.wordpress.com/2010/12/24/the-strange-case-of-springheeld-jack-episode-1/

Episode Two: http://wirelesstc.wordpress.com/2011/06/27/the-strange-case-of-springheeld-jack-episode-ii-the-crypt-of-evil/

Episode Three: http://wirelesstc.wordpress.com/2012/01/27/the-strange-case-of-springheeld-jack-episode-iii-the-face-of-the-fiend/

All three episodes of this thrilling, award-nominated** audio serial are available to download free.

 

The Strange Case of Springheel’d Jack Cast:

Christopher Finney, Matthew Jure, Jessica Dennis, Jack Bowman***, Ben Whitehead, Colt Holt, Trevor Cuthbertson, Jamie Cartwright, Ceri Gifford, Simon Walters, Ashley Munson, Lizzie Goodall, Andrew MacBean, Caitlin Birley, Debbie Leigh-Simmons, Mariele Runacre Temple, Charlie Adams, with Jonathan Hansler, Nick Lucas, David Benson and Julian Glover.

Crew:

Writers: Robert Valentine and Gareth Parker.   Editor: Andrew Swann. Music: Francesco Quadraruopolo. Artwork: Jamie Egerton. Producers: Mariele Runacre Temple, Robert Valentine and Jack Bowman. Director: Robert Valentine.

Awards and Nominations:  

*Mariele Runacre Temple; Best Radio Drama Producer, 2009, Fringe Report Awards; Best Entertainment Producer, Best Online Multi Platform Creator, Radio Academy Radio Production Awards

**Mariele Runacre Temple, Robert Valentine and Jack Bowman; Radio Academy Radio Production Awards, 2011, nominated for Best Drama Producers.

***Jack Bowman; Radio Academy Radio Production Awards, 2011, nominated Best Radio Creative.

 

The Wireless Theatre Company’s mission is to keep radio drama and comedy alive and well in the 21st Century by creating original, relevant and exciting audio productions – both for radio lovers and the ‘Facebook Generation’ – which can be downloaded free to computers, iPods or MP3 players directly from the Wireless Theatre Company website. Wireless Theatre creates a platform for fresh new writers, up and coming acting talent and interesting new ways of producing audio theatre.

 

Mixed Up Productions presents As You Like It

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Firstly, let me say that I did like it! Time passed quickly while I was watching this production, which is always a good sign.

The physical energy of this production was evident from the outset, with the sparring between the two brothers practically spilling over into the audience. However it was in Scene II, with the arrival on stage of Rosalind (Clare Langford) and Celia (Gabrielle Curtis), that the emotional and intellectual content became equally apparent, drawing this reviewer fully into the narrative. From this point onwards, with one or two exceptions, the pace continued unabated, and, before we knew it, we had reached the interval. The second half was, if anything, more engaging than the first, with one scene blending seamlessly into another, so that on reaching the final wedding scene and closing epilogue, one was left still wishing for more.

Rosalind and Celia were each imbued with a spirit of liveliness and playfulness by the respective actors, both of whom spoke Shakespeare’s words as naturally as modern-day English. Also excellent in that respect were Yvonne Riley and Owen Nolan: the former bringing a chilling sense of menace to the character of Duke Senior, and the latter playing the bucolic Corin in a very laid-back and credible manner. Owen was also responsible for much of the music, along with Catriona Mackenzie and her haunting flute, using Irish folk ballads to bring the atmosphere of the forest to life.

Will Wheeler and Ryan Wichert gave convincing performances as Orlando and Oliver respectively, and Kate Bancroft (Phebe) and Jeffrey Ho (Silvius) were hilarious in their scenes together, although Silvius was quite camp for a man so passionately in love with a woman! Overall, the company acquitted themselves admirably, capably directed by Marianna Vogt.

There are obvious staging difficulties that arise with a cast of 16 in a venue as small as the White Bear. I had a restricted view for a significant amount of the time, and did not get the full effect of the final scene. It would be nice to see the production on a larger stage, which would also give the director the chance to develop her Tent City theme, to which it was difficult to do justice in such a confined space.

I am told that tickets are selling very well, but there are still a few left, so if you fancy an evening’s romp through the Forest of Arden in the company of some talented performers, then make sure and get yourself down to Kennington one evening this week.

At the White Bear, Kennington 24 – 29 January 2012
www.whitebeartheatre.co.uk

A Laboratory of Theatre; There's a New Venue in Town.

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It doesn’t look like much from the outside but Manchester’s newest theatre space, the 3MT Venue, might just be one of the most important small venues in the country, writes Tim Austin.

Built in the gutted remnants of an abandoned shop, the 3MT is a self-styled laboratory of theatre. It’s a melting pot of new talent where musicians share the same stage as burlesque dancers; a place where first-time writers can test their material and aspiring actors can cut their teeth.

But it didn’t start out life this way. In fact, it didn’t start out life as a theatre project at all.

The two people behind the project are long-time theatre practitioners and teachers Gina Topliff-Frost and her husband John. Earlier in the year they opened a costume shop on the third floor of the city’s famous Afflecks, intending to sell off some of their old wardrobe stock.

In an attempt to attract and entertain new customers, they began inviting local actors and writers to produce Three minute long sketches within the shop. Afflecks liked the idea and soon offered them the opportunity to rent a larger shop on the ground floor and the Three Minute Theatre was born.

Now re-named the 3MT Venue, the theatre space is probably one of the most striking and unique venues I’ve ever visited. The auditorium is made up of 70 re-claimed and re-covered chairs, mainly from a Baptist church in Huddersfield. The walls are covered in an eclectic collection of artwork, photographs, theatre programmes and even, I noticed with keen interest, a unicycle. In many ways it bore a closer resemblance to a student flat-share than a theatre venue – but a theatre venue it is; and very a serious one at that.

“This is bums on seats theatre, not box ticking theatre” John tells me as he gives me a tour backstage. Everything you would find in a large theatre space, you’ll find backstage at the 3MT, however the venue currently receives no external grant funding and works on a profit-share basis; if no-one comes to see their shows, they make no money.

But far from being a hindrance, their business model has encouraged the team at the 3MT to be creative in their programming. It has also seen a focus on developing new talent.

“We are a cooperative in mind because we know that, in the long run, the business will benefit from the people we’ve been supporting” explains Gina.

They now have a core team of four in-house actors who produce a regular show based on the Three minute format. They actively encourage new and developing artists to rehearse and perform in the space, balancing a mix of straight theatre, music and variety acts.

Their creative policy encourages emerging performers to try out new work before taking it to the mainstream. Not only does this make it an exciting and refreshing venue to visit but, with funding fears leading to mainstream houses relying more and more on “name” faces to attract audiences, spaces like this are essential for the future of the industry.

Will it make John and Gina rich? Probably not but, then again, I doubt they care; this is a labour of love and their passion and dedication are infectious. And their love for the space is beginning to pay off, with audience numbers rising and more companies taking an interest in the space.

3MT is one to watch.

You can find out more about 3MT by visiting their website at http://www.threeminutetheatre.co.uk

Tim Austin is an Actor and Writer based in the UK. You can find out more about his work by visiting http://www.tim-austin.co.uk

Second Skin Theatre present "Poe: Macabre Resurrections"

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If you go to see this production, and I certainly recommend that you do, please remember to wrap up warmly. It was freezing, and this did distract slightly from my overall enjoyment of the show. However, the subject matter was also chilling, so perhaps the cold was deliberate!

Second Skin have taken five of Edgar Allan Poe’s stories and woven them together into a festival of horror. Set in the church where Poe is said to have worshipped as a boy, this is environmental theatre at it’s best. The staging takes place all over the church and grounds, and every nook and cranny is utilized to eerie advantage.

The five pieces are linked together by the preacher (Stephen Connery Brown) who steps are dogged continuously by the raven (David Hugh), from his first startling appearance right up until the dramatic denouement of the show, presided over by the demonic Prospero (Conrad Williams), when the preacher finally descends to his doom.

I had two favourites among the Poe adaptations woven into this drama, the first being “The Cask of Amontillado,” featuring Owen Nolan and Sarah Scott. This piece had a good balance of characters and effective use of different locations, the ending being particularly Poe-esque. Both actors played their parts to perfection. In particular, Owen Nolan’s journey from drunken lechery to abject terror was both believable and frightening.

The second piece I especially enjoyed was “Premature Burial.”  Again, the characters were well balanced and the location was utilised effectually. Michael Amariah’s Jake grabbed your attention from the first moment, Steve Brownlie’s performance as Clive had a dream-like, otherworldliness to it, and Sarah Feathers sympathetic portrayal of the grieving widow was especially poignant.

As well as the cast, the sound and lighting were true stars of this show. The background music (and other noises) contributed hugely to the grisly atmosphere, and the sinister use of lights, candles, projectors, smoke and even electric heaters all added to the supernatural ambience. This is stage management at a level not normally seen on the Fringe. Black box it ain’t!

Overall, I highly recommend a visit to Poe: Macabre Resurrections. You will be cold, you will be scared, but you can buy a glass of wine at the interval, and if you wait around afterwards a woman will come and mop up the blood.

Running till 4 December 2011 Tuesday-Saturday at 8pm, Sunday at 8.20pm, St Mary’s Old Church, Stoke Newington Church Street.

An Experiment With An Air Pump: Theatre Review

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I have seen many plays in my life, but none have so intertwined art and science as An Experiment With An Airpump. The play by Shelagh Stevenson is a murder mystery wrapped up in the morals of science.

The play was inspired by the famous painting by Derby’s Joseph Wright of a scientist demonstrating an experiment on the powers of oxygen. He puts a small bird in a bottle and closes the lid. The bird dies – apparently. He takes off the lid and the bird miraculously recovers.

The play is set in 1799 and in 1999 on New Years Eve. Tom, and his scientist wife, Ellen have to leave the house as they can no longer afford to live there. They employ a builder to do some maintenance work and they discover a body under the sink – the bones of a female who has been there for centuries. Ellen also grasps with the morality of taking a job that evolves working with pre-embryos.

The other family are from 1799. The play shows that if history does not repeat itself, it at least rhymes, with people rioting in the streets. It also shows how far women have come. In 1799, Holly Clark plays an oppressed wife who seeks solace in alcohol. In 1999, she is the scientist, doing groundbreaking work, and funding her unemployed husband.

The play has very high production values. The set is amazing and looks expensive. The characters costumes are spot on.

There is a cast of seven in total and most actors play two parts. Mason Kayne plays Armstrong, a medical student, in 1799 and the Geordie builder in 1999. Mason is a stunningly talented young actor. He peals away the layers of Armstrong until he reveals his cold heart. A stunning tour-de-force. The only real character is Roget – who was the man who devised the thesaurus.
This play is well acted, well directed and well written. A marvellous play that is long, but feels short. An intellectual triumph and an absolute must-see.

By Shelagh Stephenson

Directed by Liisa Smith
Produced by Giant Olive Theatre

Cast:
Joseph Fenwick / Tom – Steven Lello
Susannah Fenwick / Ellen – Holly Clark
Harriet Fenwick / Kate – Rae Brogan
Maria Fenwick – Billie Fulford-Brown
Isobel Bridie – Olivia Hunter
Peter Mark Roget – Noah James
Thomas Armstrong / Phil – Mason Kayne

Music composed by: Angus Moncrieff
Costume & set: Cara Newman
Lighting Design: Ciaran Cunningham
Stage Manager: Nathalie Gunzle
Image Design: Merilyn Puss
Photography: Alexander Ford


http://www.giantolive.com/anexperimentwithanairpump.html

Rosemary Lee’s Square Dances – Gordon Square by Mary Tynan

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Rosemary Lee’s Square Dances – Gordon Square (part of Dance Umbrella www.danceumbrella.co.uk)

12 performances of Square Dances were held in each of Woburn, Gordon, Queen and Brunswick Squares over the weekend of 8/9 October 2011. I attended the 12pm show in Gordon Square.

Knowing that I was to attend a performance where all the dancers would be carrying handbells, I imagined them as some sort of rhythmic punctuation to an energetic country-style dance, perhaps vaguely Morris or maypole like. The name, Square Dances, also reinforced this impression. However, I couldn’t have been more wrong. The bells were not used to mark time, they were the music – a specially written score by Terry Mann – and created a haunting, ethereal sound which was even slightly disturbing at times.

The choreography appeared to be more ballet than folk inspired. Entering suddenly but softly into one end of the square, the more than 100 dancers conjured up a feeling of nature coming to life, as if the spirit of the place had appeared to share its joys and sorrows with the audience. The execution was flawless, movements flowing together as the performers spread out throughout the garden, or come together in one large group under a tree. After 15 minutes of delight, the dancers gracefully slipped out through the opposite end from which they had entered, the sound of the bells gently fading away as the moved further down the street.

A special experience.

Mary Tynan

Karenina in Camden

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Walking in to the small, cosy auditorium of the Lord Stanley theatre, I had little knowledge of the story of Anna Karenina. After the show, I left with a comprehensive understanding of the tragedy. Victor Sobchak’s adaptation clearly revealed the intricacies of the relationships of the protagonist, as well as those around her, which I am sure was no mean feat against the works of Tolstoy. Throughout most of the piece, the text was given life through a mixture of solid acting, and technical support. However, much of the action took place against the back wall of the stage, leaving a large space between the action and the audience. I found myself craving proximity, and was rewarded with this when monologues encouraged it.

Anna’s husband, Alexei Karenin (played by Ian Sharrock), took the space when enlightening us upon his disgust at his wife’s unfaithfulness. Sharrock’s portrayal of Karenin’s gradual demise into pathos was touching to watch. His brave character choices were followed consistently, working well in opposition to those of Lucia Edwards’, playing Anna. The result was a bizarre, but real sensory aesthetic that was unashamedly thrust upon the audience. Edwards’ choices were far more subtle, with a gentler, contemplative approach to her interaction with others. Without a doubt, on the whole, this worked. On occasion, however, the character could have explored her primitive, guttural angst, letting her hidden frustration rear its head, and upping the ante for some of the more heart-driven scenes.

The music and choreography worked particularly well during a movement sequence in which Anna was symbolically impregnated by a kind of metaphorical sense of impending doom, represented through physical theatre. The lights turned blood red as sinister laughs from the wings transformed themselves into bodies, fingers and limbs, moving around the space, and smothering Anna’s aching body.

There was a tendency towards speaking quietly and intimately, sticking with the realism of the style, but losing some theatricality that keeps us engaged. However, this sense of theatricality was revitalised when Jamie Hufges-Ward (playing Stiva), Lily Alyss (as Betsy), and Nalan Burgess (Kitty) began to speak. This contrast in vocal energy and range was a welcome boost from the general intimacy of the piece, allowing the story to be shared more directly with the audience, whilst retaining its truthfulness.

The play is a dark, but gentle introduction into the world of Tolstoy. It is sure to be of interest to those familiar with his works, and worth a try for those who want to be. Theatre Collection’s adaptation of Leo Tolstoy’s ‘Anna Karenina’ plays at the Lord Stanley theatre until the 16th October.