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.  

 

Richard III - Old Vic Theatre

Richard III

The Old Vic -24th August 2011

           Hype is a concept I don’t like; with hype often comes disappointment, but in the case of Richard III directed by Sam Mendes with Kevin Spacey in the lead, never has a production in my opinion, lived up to its hype more so. Spacey’s Richard III was at times as vulnerable as he was repulsive, although a truly abhorrent protagonist Spacey introduced a humour and subtle vulnerability to Richard that made him completely watchable and unnervingly endearing. Combine this with a fantastic ensemble and a distinctive directive style and this production becomes one of huge power and excitement, and certainly worthy of its sell-out status.

          The histories are by no means easy going; dialogue heavy and (dare I say) dull, they are a theatrical challenge, yet this production in its entirety was captivating. Mendes' use of a simple, bleak space, devoid of colour and distinction enabled the dialogue and the characterisation to take precedence. Through the contemporary costumes, performance techniques and use of multimedia this performance was immediately propelled into the present day. Whilst watching Buckingham address the audience he embodied a politician, with a wry smile and incomprehensible political babble. The feuding families ‘overcome’ their differences in a staged handshake; their false sentiments captured on camera (Richard Duke of York ‘likes’ this . . .)Richard addresses the baying crowds via screens in which he is spoon-fed words and feigns sadness; Mendes exemplifies the worrying ubiquity of the mass the media and its ability to manipulate the truth when it suits; making this production of Richard III so relevant in today’s political climate. Proving to critics of Shakespeare (I am a self confessed Billy-hater) that he still has a place in modern and progressive theatre.

         The ensemble cast make this production the theatrical power house it is, the male performers brought a boisterous, petulant energy that is beautifully juxtaposed with their strong and defiant female counterparts. Few scenes were more impressive than when the ensemble were on stage together, the dialogue was exchanged like music, punchy and expressive and exaggerated through the use of  percussion that became the heartbeat that punctuated the action.

         The final image is a stroke of horrific genius, with Richard III suspended above Richmond. The first use of colour; the red of his jacket and the blood dripping from Richard’s hanging body irrevocably binds the two together, as all enemies are in the barbarity of warfare. This moment becomes the crescendo in a performance of subtle nuance and growing tension. To say this final image was haunting is to belittle what Mendes achieved, as harrowing as it is in the context of the production it’s real strength comes in the way it resonates with the spectators; it is impossible to avoid the parallels with the ‘villains’ of today; Saddam Hussein’s hanging, Colonel Gaddafi’s decadence, Osamba Bin Laden’s mediated assassination, all of these images were conjured up in these closing moments, images that are all too familiar to a contemporary audience. Sky News can be turned off but this living moment cannot, leaving the spectators with this last haunting thought, and haunt it does.

           To see Spacey on stage is to see him at his finest, I urge you to queue, to beg, to borrow, to steal a golden ticket to this production, it will be money well spent for a few invaluable moments of theatrical magic. Haunting imagery, compelling performances and truly exceptional theatre; Shakespeare still has it and has Spacey and Mendes to thank.

The Royal Ballet - Romeo and Juliet

The Royal Ballet -Romeo and Juliet

The 02 Arena - 18th June 2011

                   Being a bit of a theatrical purist, the thought of ballet in an arena makes me uneasy in the same way as the thought of live theatre screened at cinemas does; not because of an innate snobbery, quite on the contrary, as a devout live performance kinda gal, I prefer performance being just that, live; immediate and visceral, the venue itself is irrelevant. In my ever so personal opinion the presence of a screen immediately makes live performance something else. When observed by a dislocated audience chomping at popcorn their perception is inexorably manipulated by the one pointing the camera and the thought of ballet on such a huge scale seemed in the same respect to alienate the audience from the liveness of the dance; just as the audience at a music gig watch a screen instead of the ants on a stage – would the 02 crowd watch the screens and disregard the ants pirouetting. In short, it would take a lot to convince me that the nuance and subtlety of ballet and live performance could transcend such a vast arena.

             Theatrical nip-picking aside, the Royal Ballet are on to something. Art on the whole is no longer restricted to a venue, a genre or indeed an audience. With the works of Banksy adorning the walls of cities for all to see, any film available at the click of a button and theatre occupying old warehouses to street corners, the realms of performance are no longer rigid or confined. We exist in an age when anyone from any walk of life can experience or find or interpret something as art if they chose to. The highly traditional form of ballet is arguably dated and losing it’s relevance in today’s world and art culture. No longer can it claim its ‘high art’ label and expect that to be enough. Art perspectives aside in our current economic climate a genre cannot alienate an already dwindling audience in fear of abandoning tradition, so perhaps what the Royal Ballet did here was a brave and much needed step towards making ballet accessible to a wider and younger audience; and what better forum than in this iconic space.

          As a ballet there is no better choice for tackling a wider audience head on. A story everyone knows and a score everyone will recognise (yes, you’re fired jokes were there for the taking) ‘Romeo and Juliet’ is a ballet wrought with emotion, passion and sincerity. The absence of the famous dialogue if anything enhanced the visceral impact of this tragic tale and had the 20,000 strong audience gripped from start to finish. ‘Romeo and Juliet’ is not a ballet of times gone by; just as Shakespeare’s original text redefined love stories and influenced millions that followed, this ballet is similarly momentous. Unlike ‘Swan Lake’ when the prima ballerina as Odette/Odile completes a breathtaking sequence of 32 fouettes (spins and kicks) ending with a double pirouette, perhaps the hardest sequence in ballet choreography, it is the naïve and excitable Romeo who performs for his Juliet in an attempt to woo her. This is certainly not a ballet to showcase the beauty of the prima ballerina but a ballet wrought will male angst and athleticism and to a nation more familiar with pirouettes on a football pitch than on a stage, this is quite something to behold.

       The 02 arena is an epic space and in order for the ballet to reach those in ‘the Gods’, screens, unfortunately are a completely necessary device; yet the fundamental problem being that ballet as a genre does not lend itself to realism, which is what the screens suggest. For example during the climatic sequence in which Tybalt slays Mercutio, the images projected across the arena show Mercutio’s pained expression as he leaps and pirouettes through his last dying moments. On stage, this is completely accepted, but when the screens project Mercutio’s face the sequence becomes almost ridiculous and detracts from the poignancy of the moment. With credit to the Director, a Brechtian approach to the pre-recorded footage was applied, which served as a reminder to the audience of the theatricality of what they were seeing, but this stil didn’t seem to gel the performance. Ultimately the screens were a distraction from the liveness of the form and disjointed the action.

             The screens did however create an interesting contrast to the orchestra ‘pit’. Hovering just above the stage and just below the main screens, the orchestra pit was completely subverted. This juxtaposition of live music and pre-recorded footage confronted the very nature of performance in the twenty first century and the ever blurring boundaries of art.

             Ballet is an art form rooted in tradition, a highly codified sequence of pliès and port de bras, it enchants some and alienates many; ‘Romeo and Juliet’ hence was a brave choice in a venue more familiar with TakeThat than Tchaikovsky. Although it did not necessarily work on all levels, the bold production unquestionably attempted to free the rigid form of ballet. The 02 arena wasn’t perhaps the best venue, the sheer scale of space provides a huge challenge to the very nature of the form; pyrotechnics and aerial acrobatics may be perfect way to make the tiny Miss Minogue fill the space but the same techniques cannot really be applied to our fair Juliet. Yet this production has I believe laid the gauntlet for others to follow – this year we have seen ballet thrust into the mainstream with the success of Natalie Portman’s infamous portrayal of the ‘Black Swan’ and ballet inspired couture; Ballet has never been so in Vogue, so it is the perfect time to experiment.

         The Ballet Russes, Nijinksi, Matthew Bourne are amoung some of the greats of the ballet world; each took convention and had their wicked way with it, would they have chosen the 02 arena? Perhaps not, but The Royal Ballet have taken a much needed and admirable risk and I hope that this paves the way for many to follow.

           

Guerrilla Zoo - Modern Panic

3rd June 2011

‘Modern Panic’ is Guerrilla Zoo’s newest contribution to the modern art scene. Staged at The Old Abbatoir; one of Clerkenwell’s performance gems; it showcased a variety of styles and talents, from sculpture and photography to live art. This exciting culmination of art is unquestionably worthy of this provocative location and well worth a visit.

Navigating blindly around the vast Abbatoir site, any expectations are immediately thwarted as with each turn the spectator is confronted, or more slapped in the face with the next piece.

‘At what point is that just porn’ a fellow visitor exclaimed who strolled around a few paces ahead of myself, and true, a lot of the work was dominated by sexually explicit content, but more than feel unnecessary it felt worryingly relevant in our current society in which individual’s sex lives are a form of entertainment and pornographic imagery is everywhere from Saturday night TV to being accessed at the click of a button. ‘Modern Panic’ in its entirety highlighted the blasé attitude we now have to sex by confronting the viewer head on.

The whole space and individual pieces were intertwined through reoccurring themes; life and death, hope and despair, nature and science, creation and annihilation. It was through these juxtapositions that some really compelling pieces were produced, in the work of Iris Schieferstein for example. Schieferstein subverted the idea of creation by using dead animals as the raw material for her work and rearranging them. In this Frankenstein-esque act she effectively re-imagines the role of God and the romanticism associated with life after death. Yet it was in her subtle use of humour, in her ‘new species’ provocative and humorous positioning, that made her work so memorable and engaging. She sticks two fingers up to typical understanding of life and death.

‘Modern Panic’ was indeed that; the artists as a collective created an environment that was in places as confrontational as it was beautiful and these artists thrived in this anarchic environment. Although this was unquestionably a poignant installation there was also a real sense of fun and an energy that oozed from the performers and guests. Perfect, not at all, but Guerrilla Zoo are certainly a collective to watch and hunt down in their next underground hideaway.

U4RIA - Crimes of Conscience

 28th April 2011

‘About those who have been condemned to silence-
I shall write’

In a disused shop on Whitechapel Road, a fledgling company and a team of dedicated youngsters, inspired by the work of Amnesty International, attempted to voice to the stories of those we chose to ignore. In this highly evocative production this young company took their audience on a physical and emotional journey, with an admirable honesty and humility that far exceeds their age and experience.

Instead of preaching from a stage this production was in a hidden venue easy to miss, immediately embodying the heart of the issue and it was through this impressive location that this performance really came into its own. Audience members were segregated and guided around the venue, creating a sense of personal discovery and hence an ownership and responsibility for the stories that unfolded. The young performers themselves were a testament to the real events they portrayed; in such intimate spaces there is little room for pretence but it was in this environment that they truly excelled. They were captivating in their sincerity and as an audience you were inexorably enthralled by the story they told. This was again heightened by the subtle contact when being guided around the space; through their confident eye contact to being guided by hand, the audience were physically accompanying them on this journey and not just listening to their story but feeling it. For such young performers to reach this level of intensity is both a tribute to themselves and their direction.

A real triumph in this performance was the powerful use of imagery within the site. From the simplicity of hanging light bulbs in the windowless space that created an eerie, oppressive lighting, to the paper swans and single balloon in the closing sequence that gave a feeling of hope, even in such darkness. It was in these subtle touches that the strength of the three independent directors could really be seen.

The use of technology throughout was also significant; both within the production and as part of it, the beautiful soundtrack became a dialogue that punctuated the silence and the injection of media devices made the inequality a current and ongoing issue. The tangled web of phone cables and mobile phones that formed almost a cage became a metaphor for communication on the whole; although as a society communication is ubiquitous, it is still fundamentally flawed as to communicate honestly you need a voice of your own.

'Crimes of Conscience' was by no means a flawless production; but it unquestionably demonstrated the raw talent of this young company and their unfaltering integrity in the pursuit of truth and justice. The individual performances were outstanding and were performed with the charisma and poise of established actors; U4RIA have certainly made their mark on Whitechapel Road and beautifully yet poignantly demonstrated the plight a hard work of Amnesty International.