'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.