Showing posts sorted by date for query Jake C Macpherson. Sort by relevance Show all posts
Showing posts sorted by date for query Jake C Macpherson. Sort by relevance Show all posts
Thursday, 23 January 2020
Sex/Crime, Soho Theatre | Review
Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.
Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.
It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.
SEX/CRIME runs at the SOHO Theatre until 1st February 2020
photo credit: Matt Spike
Friday, 26 October 2018
Macbeth, Barbican Centre | Review
Macbeth
Barbican Centre
Reviewed on Thursday 25th October 2018 by Jake C Macpherson
★★★★
Having never experienced Shakespeare live before, but going into the RSC’s production of Macbeth knowledgeable in the complete story I was apprehensive in how it would be adapted and whether it would be brought up to date for a contemporary audience.
The production opens with the appearance of the witches - not typically imagined. Three young girls in matching red dresses. All of the witches are seen throughout in unusual and unpredicted parts of the play, but all play a vital part in delivering the horror thriller movie vibe that I believe designer Fly Davis and director Polly Findlay have envisioned.
The set designed by Fly Davis was reimagined and interpreted to structure the psychological and mental aspect that was heavily heightened throughout the piece. The carpet was cleverly used on most of the stage to make the link of waiting rooms, quietness and rooms of power.
Christopher Eccleston delivers a fresh and vulnerable Macbeth, one who is not afraid of the tasks he must achieve but is afraid of the hunger for power Lady Macbeth holds. Niamh Cusack is a strong-willed Lady Macbeth whose intentions are very clear from the outset. Cusack begins her character journey at a peak that only keeps on rising throughout.
The Porter (Michael Hodgson)- eerily cemented at the back of the stage, intensifies the element of the psychological trauma Macbeth and Lady Macbeth are going through. For every death that takes place, a tally is struck against the black chalkboard at the back of the stage. Visually this works well. Hodgson is also able to captivate the audience and add some humour to the play which helps break up the trauma of it.
After the death of Duncan (David Acton) an oversized LED timer begins to countdown from the centre of the stage; representing the fate that is yet to come and the fall of Macbeth and everything around him in such a short space of time. Although I found this element a little distracting at points, I feel that the time element did add another level of interest and eeriness to the show.
However, after the intense build up to the end climax I found that it didn’t really go anywhere. The timer strikes zero mid fight and Macbeth is quickly killed, it gave the clear impression that it had been rushed and made me wonder whether the timer could have been re-worked. It added to the piece as a whole but left me leaving wondering whether it was worth it.
Overall it is a beautiful re-telling of Macbeth, keeping true to the script but taking a twist on a unique element. Macbeth at the Barbican is not to be missed.
Macbeth runs at the Barbican until 18th January 2019.
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
Subscribe to:
Posts (Atom)
Hello!
