Posts with the label trafalgar studios
Showing posts with label trafalgar studios. Show all posts
Showing posts with label trafalgar studios. Show all posts
Wednesday, 22 May 2019
Vincent River, Trafalgar Studios | Review
Vincent River
Trafalgar Studios
Reviewed on Tuesday 21st May 2019 by Olivia Mitchell
★★★★
Vincent River written by Philip Ridley is a thought-provoking, highly-moving play which focusses on hate crime in the LGBTQ+ community whilst delicately and truthfully studying grief. Premiering almost 20 years ago, it's striking how relevant this play remains.
A teenage boy dressed in all black with an eye the colour of coal to match it turns up at a grieving mother's flat. Davey has been following Anita for weeks from a distance. But she's spotted him. He's the boy who discovered her son's dead body. She welcomes him in and it's clear the pair have a lot to discuss.
Ridley's fast-paced text allows both actors to bounce off one another, whilst embodying their own sense of ambivalence. Louise Jameson is a master of nuance. The wrenching emotions within her are delicately contrasted by her motherly figure as she supports Davey and his own struggle. Her raw grief and guilt is portrayed in an utterly truthful way which makes this already devastating story, even more traumatic.
With his South London accent, Thomas Mahy is both commanding and vulnerable. His evident denial is portrayed in a very different way to Jameson which makes the pair's discussions even more striking as the balance tips between them.
Robert Chevara directs a supremely subtle show which emphasises humour as well as horror. Ridley's writing moves from poetic to brutal as if they're entwined together and creates a play which enthralls throughout.
This is a devastatingly beautiful play which is performed so well by two nuanced actors. Fast paced, aggressive sections are perfectly contrasted by moments of unspoken emotion which cut to the core and evoke feelings of heart-break but also glimmers of hope.
Vincent River runs at Trafalgar Studios until June 22nd
photo credit: Scott Rylander
Saturday, 8 December 2018
Nine Night, Trafalgar Studios | Review
Nine Night
Trafalgar Studios 1
Reviewed on Friday 7th December 2018 by Olivia Mitchell
★★★★★
Natasha Gordon has become the first living black female writer to have a play in the West End, and what a beautiful, moving play it is. Nine Night follows a Jamaican family as they mourn family matriarch, Gloria, and discover things about themselves, their relationships and grief.
The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.
Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.
It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.
This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
photo credit: Helen Murray
The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.
Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.
It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.
This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
photo credit: Helen Murray
Wednesday, 5 December 2018
Hot Gay Time Machine, Trafalgar Studios | Review
Hot Gay Time Machine
Trafalgar Studios 2
Reviewed on Tuesday 4th November 2018 by Olivia Mitchell
★★★★
Fun, flamboyance and festivity, Hot Gay Time Machine is probably the most fun you'll have at the theatre this year (and next year when it'll no doubt be ruling the West End and the world). Conceived by Zak Ghazi-Torbati, Toby Marlow and Lucy Moss, this show is a ridiculously humourous look and laugh at life as a hot (privileged) gay. With a pink carpet and sparkles abounding, Trafalgar Studios becomes the time machine as Zak and Toby travel through a series of iconic moments in their lives, accompanied by a catchy, riotous soundtrack.
Zak and Toby have done an outstanding job of creating a show that feels fresh, modern, exciting, wild and amusing but also has moments that are moving and informative. Alongside innuendos and outright unruly behaviour there are sweet moments about gay-splaining and coming out which are looked at with sincerity and fun.
Asides from the fantastically witty writing, it's the chemistry between the pair which makes this show a surefire success. The duo bounce off one another as if the whole show is impromptu, and there are a number of moments where they ad lib and give one another knowing glances that just add to the already extra humour. Toby deftly plays the piano whilst singing his soul off and Zak provides vocals for days as well as witty one liners and harmonies to give you life.
In all honesty there's not much more I can say about this show other than: GO SEE IT. If you want to laugh your face off and have 75 minutes of pure, unadulterated, gay fabulousness alongside absolutely stellar performances, Hot Gay Time Machine is the show you need in your life. Go now or commit a small hate crime.
Hot Gay Time Machine runs at Trafalgar Studios 2 until January 5th 2019
photo credit: Pamela Raith
Friday, 14 September 2018
Misty, Trafalgar Studios | Review
Misty
Trafalgar Studios
Reviewed on Thursday 13th September 2018 by Olivia Mitchell
★★★★★
Misty is an outstanding, relevant, vibrant and moving piece of theatre written and performed by a theatrical genius. Arinzé Kene's use of spoken word, movement, rhythm and singing is masterful and makes you feel as though you are with him every step of his journey.
Despite being in a formal setting of audience separate from the performer, this show feels immersive and the regular breaking of the fourth wall feels natural and fresh. It's evident that this show is so intricately planned, that it feels unplanned. We find ourselves constantly questioning whether an action was an accident but it soon becomes clear that everything is part of the beautifully woven fabric of the show.
The dual-narrative script written by Kene is a masterclass in effect. The balance between political/racial tensions, intensity and passion is perfectly found and combined with laugh out loud humour magnificently. The structure of the entire piece is so exhilarating and exactly what the West End needs right now.
Kene is one of the most deft storytellers I have ever encountered. The way he captivates the audience and wraps us around his finger with a faultless intensity and honesty is an impeccable thing to witness. His performance pulls together a number of theatrical/storytelling devices which create a visceral performance that gives visibility to crucial issues that constantly need addressing. The fact that this is only the second black British play to be in the West End is enough to show that change is needed and I sincerely hope and believe that Misty will reach those that are able to influence change and will be a step towards opening conversations that will lead to positive outcomes.
The stunning performance of Kene is accompanied by incredibly deft musicians: Shiloh Coke and Adrian McLeod. The lighting (Jackie Shemesh), sound (Elena Peña) and video (Daniel Denton) are all part of creating the perfect package of Misty.
Misty is unique, theatrical perfection, written and performed by a master of his craft. This show needs to be seen and experienced. Don't miss it.
Misty runs at Trafalgar Studios until 20th October 2018
photo credit: Helen Murray
Tuesday, 7 August 2018
Silk Road (How To Buy Drugs Online), Trafalgar Studios | Review
Silk Road
Trafalgar Studios
Reviewed on Tuesday 7th August 2018 by Shaun Dicks
★★★★
Technology. Drugs. The Silk Road. We find ourselves in an age where reliance is at an all-time high. What do we rely on? Things to change the reality of our situation. Technology, where we can hide who we really are behind a cyber persona that we create. Drugs, to take us to an altered reality so that our actual reality is suspended. Silk Road follows a young man, one that believes that there is more to be learnt than what you are told. A young man that starts as a drug user but becomes a dealer. He discovers the Silk Road and learns more than he bargains for, taking him through a line of events that shows you a world you wouldn’t believe unless you saw.
The show is led by Josh Barrow who plays Bruce, who is chaotic, immature but charmingly endearing. He has a beautiful love for his Nan (as we all do) and is a lad who just wants to belong and feel love. Barrow is an interesting performer, as he presented a nice balance of light and shade in his role.
Barrow stumbled a few times throughout the show, I would attribute that to nerves of a young performer. But the multi-rolling that he does is impeccable. The timing of jokes in various characters were great and gave quite a few hearty belly laughs. But he also counterbalanced the humour with moments of severe seriousness when required. What really impressed were the moments of tenderness. These were very endearing moments, humanising Bruce, making him the young lad that he was.
With addressing such a volatile subject like drugs, the storytelling was bashful, unapologetic and frank. Alex Oates does a terrific job in delivering a compact, effective and stellar one hour script. The through line tells a complete, complex and interesting story, culminating in an ending that is foreshadowed but has an interesting surprise for the audience.
Silk Road isn’t the best one person show I’ve ever seen, but it isn’t the worst. It’s an interesting take on a taboo subject, presented in very real circumstances. It brings up a conversation worth having and certainly feeds your curiosity. It’s well constructed and equally well presented. The show is a little different, which is a good thing. We all need something different occasionally. Follow the Silk Road to an altered reality so you don’t have to face yours for an hour.
Silk Road runs at Trafalgar Studios until
photo credit: Nick Rutter
Thursday, 8 March 2018
Good Girl, Trafalgar Studios | Review
Good Girl
Trafalgar Studios
Reviewed on Wednesday 7th March 2018 by Shaun Dicks
★★★★★
I have always had a soft spot for one person shows. I believe that it takes such skill to carry a full show on a singular pair of shoulders. Today, on International Women’s Day, I am writing about the one woman show, Good Girl. This show is everything society should be. We follow the story of GG from her informative years in the 90’s all the way into her early 30’s in 2018. We follow GG as she discovers her body, emotions and the primitive nature of humanity. This show is an uncompromising and honest story of a woman finding her way, wading through the darkness without a torch.
The show is written and performed by Naomi Sheldon. Sheldon is a star. She is hilarious, honest and real. Her storytelling is so in depth and vivid, from her use of accents (which were perfection) to her clearly defined multiple characters, who she transitioned between seamlessly. What really strikes me in Sheldon’s work is her vulnerability, she is unafraid to show real and ugly emotions, it's truly beautiful. She says what everyone else is afraid to say when it comes to emotions and expression.
In contrast to the catalogue of emotional expression, the show is gut-bustlingly funny. The script is littered with many a hilarious scenario and joke. Multiple times I cried with laughter. Sheldon uses music, physical theatre, accents and the wonderful words to tell a beautiful, and necessary story. In the world of theatre, which is a world of imitating reality, Naomi Sheldon’s show is the closest you will get to real.
This show is so beautiful. It is honest and real. It is essential viewing for every woman in the world, but also every man. It gives an understanding to the human condition when it comes to emotions and discovery. The show is relatable whether you’re a man or a woman.
Naomi Sheldon is an incredibly talented human being, an intelligent writer and actress, but also a very honest woman. From her alternative poster in the programme, where she shared hostile reactions about the show, to the plethora of emotions in the show; this show and Sheldon’s talents deserve to be recognised. I hope this show has life past its current run because everyone needs to see this.
Good Girl runs at Trafalgar Studios until March 31st
photo credit: Felicity Crawshaw
Saturday, 13 January 2018
Strangers in Between, Trafalgar Studios | Review
Strangers in Between
Trafalgar Studios
Reviewed on Friday 12th January 2018 by Shaun Dicks
★★★★★
As a member of the LGBT community we all face our fair share of struggles. One of those struggles is the loss of family, whether its you leaving them or they sever ties with you. Strangers in Between tackles the subject of creating your own family with wit, humour and wonderful storytelling. It’s the story of Shane, a 16-year-old boy who runs away from his home and family in suburban Australia to Kings Cross, Sydney. The story follows Shane as he tries to navigate these new surroundings and new friends whilst carrying old baggage.
The story and message is a very relatable one; one that is very well crafted by Tommy Murphy. Murphy’s crafting of the story and characters is genius, the script is witty and humorous without even trying. The writing is outstanding, modern scriptwriters please take note. The direction from Adam Spreadbury-Maher is masterful, the show being slick, punchy without being over bearing.
Now we come to the cast. No words can be used to describe how outstanding the all-male cast of three are. You can tell that the relationship between them is strong. They are comfortable with each other and they have an undeniable chemistry. Roly Botha as Shane was truly endearing, creating a gem of a character. Dan Hunter as Will/Ben was charming as Will but complex as Ben. Hunter’s ability to change between roles was brilliant. The best I’ve saved until last, Stephen Connery-Brown as haggard old queen with a heart, Peter was simply perfection. Peter was witty, humorous, serious, kind and loving; the complete character. Connery-Brown isn’t just talented, he is an actor young performers should look up to. He gives a masterclass on how theatre should be done. These men took this script, ran with it and then some.
As a gay man myself, I relate to this story. It didn’t make me feel just for a second but a very long while. It made me emotional and think for hours after the show. That is a signifier that it is excellent theatre. The Kings Head Theatre is renowned for producing brilliant LGBT theatre, Strangers In Between falls into that bracket and is more than deserving of its West End transfer to Trafalgar Studios. Everyone needs to see this show. Support the wonderful Kings Head Theatre, support Strangers In Between. It deserves to be seen. It deserves to be recognised. It is the best thing you will see.
Tell your friends, family and work colleagues. Everyone needs to see Strangers In Between!
Strangers in Between runs at the Trafalgar Studios until 3rd February 2018
photo credit: Scott Rylander
Wednesday, 20 December 2017
The Grinning Man, Trafalgar Studios | Review
The Grinning Man
Trafalgar Studios
Reviewed on Tuesday 19th December 2017 by Shaun Dicks
★★★★
Trafalgar Studios, in the heart of the West End. We find ourselves in Studio 1, welcomed by a carnival aesthetic. The stage is set like the title, grinning. From corner to corner a grim, dark eternal smile. As we take our seats, there is a feeling of eeriness and darkness, setting the tone for the rest of the show. A demonic gong sounds, and the show begins.
The Grinning Man - originally written by Victor Hugo - and adapted into a movie but now a musical, is a story of a young man who as a boy was given a permanent smile by metal. The story follows him as he becomes an orphan, and a series of events leads us through his childhood. His aim to find the people who gave him a permanent smile.
Like Hugo’s other West End adaptation this show is a success; it is tight, slick and seamless. The show is littered with dark humour throughout but is also hauntingly uplifting and optimistic in places. The use of puppetry was absolutely magical throughout, the skill of the puppeteers plain to see for all. The narrative of the show is a strong one, backed up with beautiful music, sadly the book and lyrics seemed a little basic. Within the show you can spot the many Musical Theatre influences that influenced the writers.
The cast of the show was a strong one, there wasn’t a weak link within the bunch. The harmonies, puppetry and movement was tight, obviously well-rehearsed. The characterisation was spot on with everyone as they all smashed down the fourth wall of the stage. A particular highlight was Julie Atherton as Queen Angelica, whose comedic timing was on point as always. Julian Bleach as Barkilphedro really drove home the element of dark comedy but also presented a well-rounded and multi-dimensional character that really thrilled until the very last second. Amanda Wilkin as Josiana was also a highlight. The standout however was Louis Maskell as Grinpayne, his skill set fully on display in this show, his versatility within the show shone as his voice soared.
If you’re looking for a glamorous West End show this isn’t for you. The Grinning Man is a dark and alternative show. It’s different. Its differences are what makes this show so great. This show is something fresh and new in a world full of revivals. The show is a must see. You’ll be gutted if you miss it.
The Grinning Man runs at the Trafalgar Studios until February 17th 2018.
photo credit: Helen Maybank
Thursday, 31 August 2017
Late Company, Trafalgar Studios | Review
Late Company
Trafalgar Studios
Reviewed on Thursday August 24th 2017 by Lucy Jardine
★★★★
Late Company has transferred recently from Finborough Theatre to the tiny Trafalgar studios, where you sit, as if sharing the dining room, with the members of the cast. Debra and Michael, a couple whose gay son Joel committed suicide after having been taunted online, have gathered, a year after his death, with Tamara, Michael and their son Curtis, to try and find some kind of 'closure', some kind of reparation. Curtis was responsible for some of the bullying. A place at the dining table has been laid for Joel.
The play benefits from this close actor-audience involvement - you are drawn into the play as it unfolds, and leave feeling utterly involved, transformed in some way by what you have witnessed. We learn how Debra was unaware of videos that Joel had posted online, and how Curtis, moody Curtis, didn't think about what he was doing. We learn about Joel's depression - the sympathy that Debra displays, and the somewhat bullish opinions expressed by Michael that people should toughen up - that children are too protected.
Tannahill's script sparkles with authenticity. How many times have these conversations played out up and down the country? As Tannahill himself questions, and has us do, how much are we as parents responsible for what our children do and see online? How much space should we give our children? The actors succeed in bringing these questions to life in a very real, believable way - even if, occasionally, the Canadian accents lapse a little. If you want an uplifting night out at the theatre, don't go and see this play. But if you want to be challenged, go and see it tonight.
Late Company runs at Trafalgar Studios until September 16th
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