The Uncanny Valley - Superbolt Theatre

Camden People’s Theatre

8^th May 2013

The Uncanny Valley is the third production to arrive on the theatrical scene from the dynamic trio Superbolt Theatre and once again this international ensemble has created something very special indeed. Telling the unlikely love story between man and machine, this little gem of a production is unashamedly fun, deeply intelligent and genuinely moving, characteristics that are now synonymous with Superbolt Theatre.

The Uncanny Valley is an unconventional love story, about the ordinary Wilson Gray, whose life is turned up-side-down when he inherits his Uncle’s recent invention, a female robot named Phoebe. The connection they have transforms the young Wilson’s life in ways he couldn’t have imagined, from becoming the nations much loved weatherman to finding true happiness. Although a seemingly surreal tale, this love story is played out with such beautiful simplicity that the sentiment is sincere, herein lies the company’s biggest strength; they have the ability to capture the innocence and simple enjoyment of storytelling and indulge in it.

Wilson, played by Frode Gjerløw although is a highly comical and at times ridiculous character is fundamentally a very lovable and endearing one, not an easy balance to achieve by any performer but Gjerløw does with ease. Moments of tenderness such as Wilson singing a love song to Phoebe (Askew) are juxtaposed with moments of great comedy when Wilson introduces Phoebe to crisps and a rapping, over enthused weatherman (Maeder) to name a few. The success of this tale is without question down to the impeccable talent Maria Askew, Frode Gjerløw and Simon Maeder demonstrate for characterisation and the clever stories they continue to tell.

The Uncanny Valley is set in the future yet although technology is the focus, the performance is the complete antithesis of it; the audience are not having a big budget, 3D movie experience but an intimate theatrical exchange. The sound effects are created by the cast, the set is simple and homemade and the special effects include sock puppetry; hence Superbolt Theatre display the power of live theatre in a deliberate reaction against the technological. This is theatre at is most basic and most rich

It is easy to forget that Super Bolt Theatre are a relatively new company; as an ensemble they work together flawlessly and have continued to produce work that is refreshing and exciting. It is also easy to forget that each production is devised, directed and performed by this unassuming but overwhelmingly talented threesome. Superbolt Theatre have without doubt found their own distinctive performance style, that fuses comedy, physicality and slapstick with witty, original stories. They are not yet the complete article but a company that are evolving in exciting new directions with each move they make. This is intelligent theatre but above all theatre at its absolute best.

Piatto Finale - Superbolt Theatre

The Petersham Playhouse
29th April 2012



In 2011 Superbolt Theatre arrived on the scene with a bang with their debut performance Centralia; a wonderfully strange, beautifully told story of the last four remaining inhabitants of Centralia a ghost town destroyed by a mine fire. Superbolt’s highly physical, hugely energetic style made for excellent viewing and their follow up production of Piatto Finale, now showing at the Petersham Playhouse, has taken this signature style to new levels of the sublime and the ridiculous. This international company are an absolute joy watch and watch them you immediately should!

Housed in one of the most surreal performance spaces in London, the private playhouse (or exceptionally grand wendy house!) in the stunning Petersham Nurseries is a gem of a space. Surrounded by rolling hills, country estates and cows this intimate little performance space nestled in the grounds of the manor gives the feeling of a bygone era and the big smoke of London could not feel further away. Superbolt have a real knack for seeking out these unusual performance sites that are not just an appealing aesthetic but a defining characteristic of their work.

Piatto Finale explores the reoccurring theme of space, as the story pivots around an opera house in Moscow. The three protagonists; Douglas the new conductor, Cleo the lead actress and undercover British spy and Nikodim the son of the busty Opera House Madam set about solving the mystery of the missing Piatto Finale, a piece of music composed by some of the worlds greatest minds lost in a mysterious fire. However there is a murderer afoot, putting a stop to anyone who gets close to sniffing out the truth.

This story is one of twists and turns, as the often nonsensical murder-mystery-music-hunt unfolds. The three actors take on a multitude of eccentric characters, each more ridiculous than the last, showcasing their talent for characterisation and their effortless comic ability. Fun oozes from this production in every step but what is paramount to the success of Piatto Finale is its intelligence and Maria Askew, Frode Gjerløw and Simon Maeder’s exceptional gift for story telling. Seldom has a story been as baffling as it is gripping, the audience may be lost but never once do they disengage with the action on stage.

This company indulge in silliness; which in itself is a brave performance trait, but a style they have mastered. Gjerlow and Maeder are the perfect comedy duo, from their spoons-morse-code sequence, to their Spanish waiters and Russian dancers; their physical take on slapstick comedy evokes fits of genuine belly laughs from the audience, with Askew providing the perfect contrast with her striking elegance and ability to transform from one character to the next. Again it was an exchange between Gjerløw as the suave B-Flat and the seductress Askew as Cleopatra that created another round of hysterics, in their surreal take on erotica and one of those stand out ‘you just have to see it’ moments.

As an ensemble Superbolt are a flash of something special; their performance style is unique and unashamedly fun, yet there is also a sense of nostalgia that emanates from their stories alongside issues of identity and belonging. Yes, they are a fledging company with still a long way to grow and develop, but this is a company with heart. This is intelligent theatre in a hilarious guise and I only hope that Piatto finale is not the last we will see of this exciting bunch.

'After the Turn'

Interval productions featuring the music of Tim Prottey-Jones

The Courtyard Theatre - 2nd February 2012

The relevance of musicals in contemporary theatre is a hotly debated subject – can bursting into song ever equate to genuine emotional or deal with controversial issues? If ‘After the Turn’, a new pop rock musical is anything to go by then without a doubt! Wrought with post-adolescent angst, ‘After the Turn’ abandons sequins and jazz hands in favour of raw emotion, proving musical theatre is still a force to reckon with.

Set predominantly in the protagonist Michael’s bedroom; former lead singer of the band ‘Lost Boy’ who has completely lost his ability to speak after the tragic loss of his mother. This modern musical takes the audience away from the showbiz, glitz and glam of a grand auditorium and confronts them in a small, intimate performance space; the charming Courtyard Theatre. The story that ensues is not one set in a land far far away, but instead a modern day love story, filled with complications, where broken homes and bad decisions underpin the action and define the score.

‘After the Turn’ has all the makings of a good musical with the added punch of feeling culturally relevant. Issues of love, loss, grief and greed are subtly explored through the punchy music. Tim Prottey-Jones has certainly captured the sound of a generation; the ballads are gut wrenching and force the performers to dig deep vocally and emotionally and dig deep they do! This young ensemble truly are a special bunch, their unique voices blend together seamlessly creating an acoustic that is as layered and complex as the story itself. The soulful voice of Lauren is the perfect contrast to the psychotic intensity of Wolf and the child-like honesty of Michael. It is the relationship between these characters that is really compelling. This may be the first time you have seen these performers but this will certainly not be the last!

 ‘After the Turn’ is not without fault, at times, the music becomes a little self-indulgent and the subtle relationships are undermined by trying just that little bit too hard with the story - but this does not detract from the overall appeal and success of this performance. This is a musical for the noughties; it is entertaining, engaging but above all honest with a bitter sweet ending and well worth a trip down Hoxton way!

Memoirs of a Biscuit Tin

Maison Foo – Memoirs of a Biscuit Tin

Jackson Lane Theatre – 3rd November

‘Memoirs of a biscuit tin’ is one of those rarities in the theatre when suddenly you realise you are witnessing something special. Clever, funny and a visual feast, this dynamic young trio truly are an  exciting bunch; this is story telling at its best and I urge you to catch this little gem of a performance before it’s too late.

A simple idea, ‘Memoirs of a Biscuit Tin’ is the story about the life of the absent Mrs Benjamin, told from the perspective of her dilapidated house, who are desperately trying to find her. Although this is a surreal set up, one is immediately taken in by the endearing characters of Chimney, Floor and Wall as they try to re-trace her footsteps. In the world of this old and weary house every dying plant, dis-used microwave and dust ridden shelf have a story to tell and due to the contents of a mysterious biscuit tin the life of Mrs Benjamin is revealed, from her first birthday, to a lust-fuelled encounter with a milkman. Through their fearless physical style the ensemble create moments of great slapstick comedy, but this is beautifully underpinned by a sadness that resonates throughout the whole performance as Mrs Benjamin’s eventual isolation and development of dementia is tenderly explored and heart achingly presented.

The imagery conjured up through the inspired staging and energy of these larger than life performers made ‘Memoirs of a Biscuit Tin’ a true spectacle. Through clever manipulation of a lamp shade and a hat rack, or the introduction of a straw hat a man was instantly imagined and then dissolved just as quickly. A balloon and a bonnet created a mother and a baby and a washing line was enough to suggest gossiping between neighbours. There were also some particularly harrowing images, for example when the bags were worn like masks and the physical torment of dementia was externally realised. These sequences flowed from one to another seamlessly, showing the speed in which time passes but also highlighting the intangibility of memories, and the way the past almost haunts this house that no longer has a present. 

What really worked well in this performance was the simplicity of Mrs Benjamin’s life, yes there was a great love and moments of naughtiness but her life was in its entirety normal, unremarkable as most lives are. Therefore ‘Memoirs of a Biscuit Tin’ immediately touches on what we all fear; being forgotten. The true sadness of Mrs Benjamin’s story is there in the foundations of the performance, her life is not told through personal recollections of friends and family but through what is left of her home, the only thing left to prove she even existed. Everyone knows ‘that woman’ everyone has passed a little old lady and not given her a second thought so what Maison Foo have done is given her a voice. They have not patronised their protagonist but presented an honest and sincere observation of ageing and through this enjoyable performance they have enabled this sensitive issue to reach a wider audience.

Many things can be taken from this production, on the surface this is a performance master class and a style that I hope the company will only continue to push and develop in their forthcoming work; but more importantly and profoundly this company seem to have not only a theatrical heart but a genuine soul.

Superbolt Theatre Company - Centralia

Superbolt Theatre - Centralia

The George Tavern - 12^th October

The George Tavern in the heart of London’s East End has long been a hub of artistic activity and for the past week has played host to Superbolt Theatre Company and their debut production Centralia. This wonderfully silly and wildly engaging production is a theatrical feast and an exciting debut from this fledgling company; if you find yourself with £10 in your pocket this weekend I urge you take a trip down Commercial Road to these unassuming surroundings as something special is certainly afoot.

Based of true events Centralia tells the story of a town devastated by a coal fire that has burned deep underground since the sixties forcing the population to be relocated. Told from the perspective of its last four remaining inhabitants the performance itself plays out like a town hall cabaret show, with snippets of song, dance, story telling and personal recollections, as these larger than life characters endeavour to tell their audience about their disappearing town. The shabby space, mismatched chairs, and winding staircase of the George Tavern are a perfect backdrop for this interaction. Instead of feeling like a performance you are instantly thrown into the world of these endearing characters  and accept their rules; creating an intimate but relaxed actor-spectator relationship, yet one that is hugely challenging performatively.

The theatre within theatre approach although lends itself to comedy doesn’t necessarily go hand in hand with sincerity; over played characters will become exaggerated and worse still unbelievable yet too subtle and the comedy and sentiment is missed. This is where the strength of this performance lies as the relationship between the protagonists Norman, Alistair, Patrick and Jennifer is completely genuine. Their awkward smiles to each other between scenes, their lasting eye contact and their gushing exchanges, depicts a unity between them and enables the humour to organically flow.

And flow it does! From the Cher number in which the men become backing dancers for a menacing looking baton twirler (I wont divulge any more details!) to the rhythm clubs rendition of their favourite rhythm. These were moments of lunacy that had the audience in fits of giggles, yet although silly the characters never became ridiculous. Thus when juxtaposed with moments of sadness such as when Jennifer talks about losing her Mother and how inexpensively the fire could have been extinguished, you are genuinely moved. It is in these moments that their isolation and vulnerability is exposed and greater issues such as what is a community and what defines us as people are questioned. Confronting an audience that are probably more aware of their social network than their own community.

Centralia is by no means a perfect production but Superbolt Theatre Company have most certainly found a unique physical style of story telling. The simplicity of the home-made aesthetic throughout this production equated to some beautiful imagery but the poetry of their movement and their relentless commitment to their characters is what will set them apart from their fellow performers. This international ensemble are certainly a force to reckon with and a company to hunt down in whichever hidden space they next chose to make their home.

'One Fine Day'

'One Fine Day'

Waterloo East Theatre - 22nd September

Hidden away beneath the arches of London Waterloo, in the tiny Waterloo East theatre 'One Fine Day' has taken up residence. Fresh from a sell-out run at Edinburgh ‘One Fine Day’ is a one man show following the life of Eddie who is accused of child molestation and the devastating impact this has on his life and his beloved family. Although controversial in topic, this play is a beautifully performed by the young Jake Addley, with a maturity and understanding of a character that far exceeds his own years. Delivering a performance that is endearing and creating a protagonist that is above all likeable. This production is simply staged, subtly performed and without doubt worth the £10 you pay.

A one man show is a theatrical challenge and a daunting prospect for any performer however well established they may be. Keeping an audience interested for the duration is a skill in itself, yet the young Addley did this with ease through his acute comic timing and the warmth and truth in his scouse tone. The audience were inexorably engaged and implicated in his tale. His anecdotes were expertly delivered, with a humour and humility; Eddie as his Mum and Billy's dear old Granny were a particular favourite of mine but you cannot help but laugh along with Eddie when he tells of his first understanding of sex or Billy’s first erection. These otherwise crass tales were not cringe worthy but due to Eddie’s boyish openness the content was completely accessible and innocent making the consequences so devastating. Ironically the audience are never told another side of the story, the interrogation of Eddie is never elaborated upon so ultimately his innocence is questionable and by no means definitive, however the audience become Eddie's confidante, so there is an unnerving feeling of betrayal when this doubt creeps in. You desperately want to believe him.

As an actor it is Addley's willingness to throw himself into the chatacterisation so whole heartedly that made this production so watchable. His physicality when embodying the other characters in the story was exceptional and his enthusiasm was infectious and Addley is a testament to the clever writing.

Although the concluding scene is surprising and perhaps a little lost in the context of the play, ‘One Fine Day’ is an intriguing take on childhood and family relationships, confronting the taboo issue of how close is too close and making us question the vilification of suspects. This is cleverlu written little play, with some very though provoking issues at its heart; Eddie may be ‘that man’ but Jake Addley is certainly that actor to watch, and I urge you to go and watch story telling at it’s best.

A Clockwork Orange

A Clockwork Orange

Theatre Royal Stratford East - 13th September 2011

A Clockwork Orange is synonymous with controversy; from Burgess’s original novel in the sixties to Kubrick’s iconic film of the seventies. Any interpretation or adaptation of literature of this magnitude is going to have a challenge on its hands; yet what is achieved at the Theatre Royal Stratford East is a dynamic, vibrant and a surprisingly uplifting take on this modern classic. This little gem of a performance doesn't just resonate with the young east London audience, but plays on the consciousness of our modern society, making A Clockwork Orange more culturally relevant than ever and this production a must see.

Bought bang up-to-date through Dawn Reid's inspired direction, Alex, the articulate protagonist and his gang of Droogs burst onto the scene not wielding canes but adorning hoodies and belting out lyrics with an unnerving energy and excitement. Gang culture, the term that burdens the headlines of many tabloids, is immediately confronted in these opening moments. The intimate traverse staging thrusts the audience into this fast paced action wrought with male angst, as the journey of Alex, from thug, to government guinea pig, begins to unfold.

The unavoidable violence in A Clockwork Orange in this production is not graphic but cleverly portrayed through choreographed movement. Sequences of punches and cartoon-esque jabs were eerily punctuated by a live jazz band and clever song writing, creating a physical score as well as musical one. Heightened by the intimate setting, Alex’s wonderfully eloquent interactions were able to take precedence. Language is the heart and soul of this interpretation and it is through the power of the committed ensemble that this idea is explored.

The character of Alex uses words to exert power more so than he does through physical prowess; manipulating those around him with his sharp tongue and innate intelligence making for an engaging and likable rogue. The young Ashley Hunter shone, proving himself to be a charismatic and beautifully seductive protagonist, finding a softness that few could observe in this character.

The supporting ensemble provided an interesting parallel to Alex. Every figure of authority; the Doctor, the Priest, the Police, Alex’s dad, became caricatures of themselves. When juxtaposed with the articulate Alex they appeared to be figures of ridicule. This exemplified the distinct divide and lack of communication and commuity between youth and authority and to a post-riot London audience, this sentiment has never felt more significant.

True to the original text, the Ed Durantè adaptation of A Clockwork Orange ends in Alex’s redemption, although sickly sweet this ending did work in the context of this production. The endearing protagonist had such a likeable character that anything other than redemption wouldn't feel quite right, right, right, however the almost 'Disney' ending to this original dystopia did feel incongruous and all a bit too lovely for my liking.

Theatre Royal Stratford has always been a hub of excitement; it is a venue that is the heart of the community, actively engaging with its multi-cultural audience and youth following. A Clockwork Orange may have had a sugar coated ending but in the context of this venue it did not feel out of place for this is a theatre that prides itself on the positivity is exudes. There are few venues that continue to produce such thought provoking work for such an eclectic crowd; I only hope that the light that is this special venue will not be overshadowed by an Olympic torch when it comes to town.