The Collector, St Peter's Church (site-specific)

Adaptation by Mark Healy

Directed by Theo Herghekegiu

★★★★

Pros: Well adapted, intense play set in a magnificent theatre space.

Cons: The dark nature of this script will inevitably unnerve some audience members. Some of the acting felt a bit overly dramatic at times.

Our Verdict: A daring adaptation of this classic psychological thriller with some very good use of visuals. Elicits strong reactions from its audience.

Courtesy of Notting Hill Mayfest website

Admittedly, going to see The Collector was never going to be a light-hearted event. Walking through the gates of St Peter’s Church in Notting Hill, a beautifully fitting setting, I prepared myself for two full hours of suspense. Invited by the Notting Hill Mayfest all the way from Bucharest, Romania, this is a rarely performed adaptation of, quite frankly, a very scary novel. I expected to be put through my paces with this production, which should come as no surprise for those who have read the classic book by John Fowles or watched the 1965 Wyles’ movie adaptation.

As an audience member I put myself firmly in the hands of Mark Healy and his adaptation of this psychological thriller, following the words of Miranda, “Everybody should be made captive at least once in their life”. So I surrendered, ready for whatever emotional turmoil I was about to encounter, which is probably the best way to experience any piece of theatre.

The script itself is an angst-charged and dark tragedy following the emotionally under-developed Frederick, once butterfly collector and now lottery-winner-turned-sociopathic-kidnapper. Expanding his collection of living things to young, beautiful female specimens of the human variety, he begins stalking the young art student Miranda, and eventually kidnapping her with the help of chloroform and a rather big van. For Miranda this is the start of a living nightmare. She is forced into a cellar, dependent upon her jailor for food and survival, but she soon discovers that he is not after sex or money. Instead he wants to collect her very soul, wanting her to fall in love with him. As all her futile attempts at escape fail, she slowly descends into the horror of madness and desperation.

The team at Teatrul de Arta have certainly made every conceivable effort to evoke this feeling of desperation in the audience and they succeed well. Using the fundraising platform, Kickstarter, the creative team have clearly put a lot on the line to bring this production to life. The beautiful costumes by Sandra Galan, colourful and eccentric, along with clever projections by Cinty Ionescu add a much needed tone of light to the dark atmosphere of the cellar. Adriana Parvu plays a dignified Miranda, most moving in her desperation and striking in her portrayal of captivity. As a somewhat 'damsel in distress' character, it is hard to find the balance between distress and overly dramatic acting, and whilst for me some moments were slightly over played, she handled a difficult character well. The moments of brutal physicality during every desperate attempt to set herself free stood out for me in particular. However it is Archie Whyld’s performance as Frederick that chills the air. Untouched by his captive's emotional outbursts, he is the perfect psychotic villain  His coldness and determination are chilling and yet his naivety of all things woman is near hilarious, giving his character even greater depth.

Of course, to demonstrate the subtle emotional mind game that transpires from Fowles’ novel is not an easy task in a life performance. I thought the innovative use of a camera to collect Miranda’s life was a clever transportation to the 21st Century. The alternating points of view, switching from captor to captive, which is the soul of the original novel, at times works very well with good use of lighting. Whilst one cannot expect to gain all the subtleties that the thriller novel gives to a reader, this performance gives audiences new sensations unique to its adaptation. The last dinner scene was particularly enjoyable too, with lots of feathers being scattered around from the pillow fight.

Overall, this was a laudable effort to recreate a classic psychological thriller with a modern twist. Crafted by a very talented team that deserves a bright future, most importantly this production was funded through a public source of supporters of the arts. It's just a shame that you’ll need to trek it all the way to Rumania to catch them next, but hopefully this company will be invited back to the UK soon. Now, where was that damn exit from this cellar again?

Please feel free to leave your thoughts and opinions in the comments section below!

The Collector ran at The Notting Hill MayFest on 17th and 18th May 2013.

The Notting Hill Mayfest runs from 10th May until 24th May 2013. For more information visit: http://www.nottinghillmayfest.org.uk/

Mess, Battersea Arts Centre

Caroline Horton and Company

Directed by Alex Swift

★★★★

Pros: A lively combination of a serious topic with a wacky play and enthusiastic characters.

Cons: I’m not entirely sure the idea of it not being the ‘real show’ was necessary or worked (unless it really is moving into a bigger, more impressive venue).

Our Verdict: Three strong actors perform a script by a writer who has a deep understanding of the subject.

Courtesy of the Battersea Arts Centre

Caroline Horton understands eating disorders. This is not only clear from the fact that she herself suffers from one, but she has also written a piece which, while quirky and off the wall, is equally straight talking, hard-edged and effective. Mess - its premise being that this actually isn’t the “real show” because that will be in a real theatre with theatrical tricks such as the ability to fly and a large orchestra (instead of the put-upon keyboardist Sistahl, played by Seiriol Davies) - tells the story of Josephine, a young woman struggling with the mental and physical effects of anorexia.

Caroline Horton plays the semi-autobiographical character of Josephine. Her portrayal was deep and realistic. Perhaps drawing massively on her own experience allowed the script to be so real. The many pauses and silences were utilised amazingly to show both how ineffective society is at talking about it and the strength needed to actually admit you have an eating disorder. These were often both drawn out and cut short by the wonderfully eccentric character of Boris (played by Hannah Boyde).

As I watched I felt a certain level of anxiety, silently willing Josephine to get better. Cleverly, Horton manages to evoke this from the audience while at the same time keeping Josephine as a relatable character. Instead of feeling frustration at what could be perceived as stubbornness in her inability to recognise her illness, I gained, almost sub-consciously, an understanding about anorexia and those suffering from other eating disorders.

What was a particularly fantastic use of theatre was staged at the very end. Boris, ever the enthusiast, attempts to finish the show on an epic show stopper (or at least to explain the ‘epic show-stopper’ they’ll have in the real show) but Josephine stops him. She explains that the show can never end because that would suggest that there is a happily ever after, whereas in reality eating disorder sufferers have to deal with their illness for the rest of their lives. An emotional Boris blows up and explains to Josephine that everyone, not just those suffering from anorexia, has rubbish days and that 70% of the time our lives are mediocre and we aren’t on top of the world, but that that is ok so they can finish the show. He makes it ok that she has set-backs. Hannah Boyde, who shines throughout the show, really produces a spectacular performance at this point. The speech is both cross at Josephine while at the same time being entirely sympathetic to her illness, a fine balance.

Overall this show is worth a visit for the performances. While the script is strong and effective on anorexia I wasn’t convinced by the actors breaking the fourth wall to tell us about their visions for a bigger and better show. There are however very special moments, the more serious ones coming from Caroline Horton while Hannah Boyde steals the show.

Please feel free to leave your thoughts and opinions in the comments section below!

Mess runs at the Battersea Arts Centre until the 1st June 2013.

Box Office: 020 7223 2223 or book online at https://www.bac.org.uk/content/17371/see_whats_on/current_shows/cook_up/mess.

Genesis New Writing Night, Genesis Cinema

Presented by Genesis Cinema

★★★

Pros: A delightful and cosy atmosphere created in an architectural gem. Makes you feel like you’re amongst friends. 

Cons: Due to that strong community feel, there’s the potential to feel like an outsider.

Our Verdict: A very fun night where your input will directly affect creative growth. The format is still finding its feet.

Courtesy of Genesis Cinema

One of my favourite experiences in theatre is the post show tipple and the deeper delving into the earlier proceedings. It makes a great first date as you quickly find out what your beau is excited by or what they take offense at. This mixed bill of new work is designed around long chats and long drinks in the quirky and unusual setting of the Genesis Cinema, one of the those hidden London gems.

Each month several short pieces are staged as part of this evening. They may explore an idea, a plot twist or a character, or they may be part of a fuller length work in development. The stage is about the right size for stand-up comedy (you could swing a cat, but that’s about it) so forget about elaborate scenery and prepare to make the special effects with your imagination.

It’s really great fun. It is a mixed bag - as the aim is to experiment there will always be weak elements - but the producers furnish you with introductions, question sheets and pens. There is always a feeling that if you’ve paid ‘good money’ to see something and it doesn’t meet your expectations then you’ve been cheated. However, by being very forthright about what the night is about and by asking you to critique the work, it doesn’t matter when you see some things which rankle because you can communicate that and the work will develop because of it. Similarly, if you love the way a character is built or a plot twist, you can congratulate the author and know that your comments will be read and appreciated. It is, in fact, the joy of being a theatre critic.

This was the second time the night has been run, so it is still teething and the format could be tightened up. Breaks need to stick to time: although everyone seems to be enjoying a chat, if you’re not part of one of the big groups it can get irksome. The sofas-so-comfortable-you-wish-you’d-brought-your-dressing-gown need to be arranged so that there are better sightlines, and a fuller programme is needed so we can get to know the people behind the work. I would also advise, like comedy, that either the best or best-known act is presented last, the second strongest first, and the weaker acts in the middle. Putting a weaker piece first can make one dread the rest of the night.

I can very easily see this evening spawning the next generation of fringe theatre stars, however, the producers need to remember one thing to ensure the longevity of this event: the evening is just as much about the audience as it is the new writers. The real joy of nights like this is in creating a fanatical audience not associated with any of the acts. This can be done by forming a Rep-style company so that we get to know the same group of actors; ensuring there’s enough information available beforehand about the people involved; having a book club style discussion group afterwards; presenting a website where everyone’s feedback is posted; or by promoting mini twitter reviews so audiences can literally become theatre critics.

There’s lots of room to experiment and make this a really exciting evening for passionate theatre aficionados. This is especially so because all the creators are in audience with you and some really fun mingling could take place if encouraged (names and role badges perhaps?).

I’m putting this in my diary for every month – and if you’re passionate about theatre (or just like to speak your mind) you should too. However, I’ll only continue to attend if they continue to evolve their warm, friendly, audience-focussed atmosphere.

Please feel free to leave your thoughts and opinions in the comments section below!

The Genesis New Writing Night has now finished, but keep up to date by visiting the Genesis Cinema website: http://www.genesiscinema.co.uk/index.php.

The Little Soldiers, The Cockpit

Conceived and directed by Guillaume Pigé

★★★★

Pros: Beautiful imagery, haunting original music, a showcase of first-rate physical performances.

Cons: Might not be your cup of tea if you don’t like mimes! Without words, the story can be difficult to follow.

Our Verdict: A beautiful piece of storytelling, featuring very skilled performers, that captures the magic of the circus. If you like physical theatre, go see it!

Courtesy of The Cockpit

The Little Soldiers is a mesmerizing tale told through movement, music, and light. During the hour-long performance, not one word is spoken. The story is simple and ancient, perhaps pre-linguistic. The little soldiers of the title are two circus performers, played by Guillaume Pigé and Malik Ibheis. They are brothers who have fallen in love with the same ballerina, played by Selma Roth. In the circus tent, the brothers play out their rivalry and ultimately fight to the death.

The production is put on by Theatre Re, an international company specializing in physical theatre and mime. The Cockpit Theatre in Marylebone is the perfect venue for this show. The seating in-the-round makes us feel like we are under the Big Top. The audience is able to sit very close to the action and see every nuance of the performances. The staging is minimal: a ladder, a microphone with cord, a spotlight and an accordion are the only props.

Aesthetically, the show is gorgeous. Costume designer Amédine Bello and lighting designer Katherine Graham both deserve credit for the show’s beautiful imagery. The Little Soldiers captures the strange mystique of the circus, the poetic mixture of glamour and melancholy.

I am not a fan of physical theatre or mimes. I connect with words, with texts, with language. For my day job, I work as an editor. Without words, I found it difficult to follow the story, though I suspect that might just be the way my mind works. The programme helpfully explained that the play is meant to explore what happens ‘when folly takes over men’s mind and when ambition goes beyond moral constraint’. Though I was enchanted by the show’s images and music, I did not find meaning in it.

It is therefore a testament to the skill of the actors that I still found their performances so captivating. The performers do amazing things with their bodies, stunning feats of flexibility and contortion. My favourite image was when the ballerina became a puppeteer to the two brothers’ marionettes. How they make their bodies so floppy, I’ll never know. The Little Soldiers also made me think about how it is possible to tell stories without words. As I was watching the show, I considered how much the face can express on its own. Selma Roth had the most expressive eyes of any actress I have ever seen on stage.

There is a fourth performer who is just as crucial to the show’s success. Alex Judd composed the play’s original music and performs live on stage, playing the keyboard and violin. His haunting music works seamlessly with the movement and helps narrate the story. There were also several well-judged moments of silence.

If the thought of mimes makes you want to head for the hills, you might want to give The Little Soldiers a miss. But Theatre Re and the Cockpit Theatre are currently offering the most impressive physical theatre you could hope to find. It made this reviewer, a self-confessed word-lover and mime-sceptic, give the genre a second look.

Please feel free to leave your thoughts and opinions in the comments section below!

The Little Soldiers runs at The Cockpit Theatre until 2nd June 2013.

Box office: 020 7258 2925 or book online at http://thecockpit.org.uk/show/the_little_soldiers.

4000 Miles, The Print Room

Amy Herzog
Directed by James Dacre
★★★★

Pros: Fantastic acting from Sara Kestelman and realistic lighting, sound and set by the production team.

Cons: Annoying American accents and the use of American clichés (such as repetition of the word ‘like’) can be a bit distracting

Our Verdict: Good acting and a heartwarming story makes this production one to watch.

Courtesy of The Print Room

Following on from its UK premiere in April this year at the Ustinov Studio, Theatre Royal Bath, 4000 Miles has now transferred to The Print Room in Notting Hill. A strong cast with fantastic writing from playwright Amy Herzog, makes this tale believable and heartwarming.

Twenty one year old Leo (played by Daniel Boyd) turns up suddenly at his 91 year old grandmother’s apartment, after completing a coast-to-coast bike journey across America. Olivier award winning actress Sara Kestelman plays Vera Joseph, a lonely but sharp, feisty elderly woman who is struggling to come to terms with old age. Kestelman’s portrayal of an intelligent woman frustrated by her inability to remember words or phrases is perfectly captured and will make many audience members think fondly of their own grandparents or elderly relatives. Certainly throughout the performance I found myself thinking of my relationship with my grandparents in comparison to the relationship that Leo and Vera share.

Boyd’s representation of hippie Leo, was admirable, although it did take me a long time to warm to him and it was not until the retelling of how his best friend died during the ride across America that I really connected with him. At times you want to shake him and tell him to start living in the real world, while at other points you can’t help but admire him for his ability to reject consumerism. The introduction of Bec, Leo’s ex girlfriend (played by Jenny Hulse) didn’t really add anything to the story and the repetition of the word ‘like’ after most sentences did begin to grate on me. Jing Lusi also offers light comedy in her supporting role as Amanda, an art student Leo brings home for the night.

Death is featured prominently throughout the play – Vera is a widower whose husband's name still appears on the downstairs buzzer, and during Leo’s month long stay several of her friends pass away making her feel even lonely. However, the loss of Leo’s young friend also shows that it's not only the older generation who are affected by death. It seems as though the connection between the two generations is bridged somewhat with the realisiation that we’re not really all that different as human beings.

Simon Kenny’s set design was the perfect replica of a New York apartment - the peeling wallpaper, watermarked ceiling and stained windows and walls made the action on stage all the more real. The sounds of New York, horns honking, cats yowling and sirens, all add to the mood and drama taking place while the lighting is used not only to depict morning, afternoon and evening but also to create atmosphere.

Herzog has done a great job of making the characters real, thereby making 4000 Miles a touching show with some laugh out loud moments – mainly thanks to Kestelman and Lusi. While Boyd’s American accent could do with a little bit of work, it is Kestelman who really steals the show.

Please feel free to leave your thoughts and opinions in the comments section below!

4000 Miles runs at The Print Room until 1st June 2013.
Book Online at: http://www.the-print-room.org

The Storyteller - Curse of Bakawali, Etcetera Theatre

Written and performed by Ashley Alymann
★★★★★

Pros: Combining the art of storytelling with contemporary performance, this piece captures the all-encompassing excitement one might remember from childhood.

Cons: Slightly too long in running time, the ending seemed rather abrupt for such a captivating and intricate piece.

Our Verdict: A masterfully told tale; an enthralling and empathetic experience that allows just enough give at the end to marvel at the feat of the performance just witnessed.

Courtesy of the Etcetera Theatre

It's very easy to forget that theatre as we know it derives from the age- old tradition of Storytelling. What we really want from all these celebrity protagonists, the fancy lighting, digitized set pieces and ornate costuming is a gripping story and characters which one can care about and relate to. However, sky-high ticket prices in hot demand tell us it is the former that we want from our evening's entertainment and stimulation. I therefore wouldn't be surprised at your raised eyebrows when I tell you that one guy in a white t-shirt and dark sweats with nothing more than simple lighting, some unobtrusive (but integral) musical accompaniment and a gripping but fictional myth based on Malay Storytelling tradition, could blow many West End blockbusters out of the water.

Ashley Alymann as The Storyteller deftly folds us into his dark, entrancing story, taking us into an ancient world of magic and myth. It begins following the fate of two young brothers coping with the danger and ruin of the society around them and their mother’s murder. Quickly assuring us of the boys’ safety once being adopted by an elderly woodcutter, The Storyteller transports us through time to when the youngest brother, Bhatin, is ready to take a wife.

During a midnight walk on a sleepless night Bhatin encounters an old woman. Having shown her a kindness in helping her out of a tight spot, the eccentric old lady is insistent that she must repay him. Adamant that the only thing he desires is a wife, the “grandmother” gives the young man strict instructions of a ritual that must be performed on the next full moon to reveal a woman “with astonishing beauty, gentle as the wind, and a heart as pure as the moon.” When Bhatin performs the prescribed actions to the letter, he is presented with the woman of his dreams, Bakawali, who is full of sorrow.

From here, the Storyteller takes us on a journey to reveal that as Bhatin’s fortunes grow, his wife’s situation and state worsens. In a mystical saga of magic, sacrifice, sea kings and hell fire we are taken on the journey to avenge her maltreatment.

Alymann skillfully presents three-dimensional characters each with definitive personalities and physical traits, without a caricature in site. My personal favourite was the old woman – welcomed comic relief in an often harrowing tale – and the sea monster, created and delivered with creativity and believability.

Perfectly complementing and conducting the flow of the piece was the original score by Malcolm Milner augmented by live percussion, which encouraged the “buy-in” to the mystique and sacredness of storytelling.

This production is a real treat fueled by true talent with the heart of theatre at its core – not to be missed.
Please feel free to leave your thoughts and opinions in the comments section below!

The Storyteller – Curse of Bakawalii runs at Etcetera Theatre until 18th May 2013.
Box office: 0207 482 4857 or book online at http://www.etceteratheatre.com/

Cuddles, Ovalhouse Theatre

Joseph Wilde

Directed by Rebecca Atkinson-Lord 

★★★★

Pros: A most unusual script brought to life by two strong actors. 

Cons: Nothing much to report. Some elements of the show didn’t quite work but nothing too bad.

Our Verdict: Funny, touching and incredibly intense, this is new writing at its best. 

Courtesy of the Ovalhouse

There have been a lot of shows about the riots in recent times. Some have been sympathetic to the rioters, whilst others have presented the facts without taking sides. Although this is a show written in the wake of and certainly inspired by these events, you won’t see anything like it anywhere else. Cuddles is the story of Eve, a 13 year-old vampire who has never left her room and who knows nothing of the world other than what her sister has told her. It is a profound and deeply effective metaphor of the young consumerist while highlighting the complications of family life and the difficult transition into adulthood.

The set is brilliantly unsettling with a wrought iron child’s bed, filthy bed linen and buckets of faeces to the side. The show begins with Eve (Carla Langley) crawling out from under the floorboards to deliver a sinister monologue with a torch under her chin. As supernatural creatures go, there is nothing creepier than a child and although Carla Langley is clearly a fully grown woman, she is also very convincing as a feral 13 year-old. Part of the reason why this show is so effective is the strong performances and the chemistry between the two sisters. Rendah Heywood is terrific as the man-hating, money-obsessed older sister who, despite being the only human of the two, strangely lacks real human qualities. She is deficient in basic empathy and seems to only really care about herself. 

The relationship between the two is deeply complex and much of the action and dialogue is steeped in heavy metaphor. They both reflect each other and the modern world in so many ways. The older sister Tabby is vampiric in her attitude to the world and to money and sex. Tabby does not give, she takes and her man-hating views are extreme. When she almost falls in love with a hippy, her description of him as a sliver of light in a darkened room reflects both the life of her younger sister and our own refusal to part with consumerism.

Another excellent element of this show is the lighting and sound design. The lighting, provided by Pablo Baz, felt like a suitable homage to the horror film genre and adds so much to the eerie feeling in the auditorium. This teamed with brilliant sound design from Edward Lewis – providing deafening heartbeats and unsettling scratching noises above our heads - makes for top class horror fun. 

Cuddles incorporates several playwriting styles and will certainly appeal to a wide audience. It is written by Joseph Wilde who has a wicked sense of humour matched with a sharp understanding of human nature. It is great to see a show which explores our humanity through an exciting supernatural storyline, while also maintaining high production values and a rich wealth of talent across the board. This show is tinged with real sadness and serves as a constant reminder of the struggle to live healthily in the modern world. The distinct emptiness and insatiable hunger that comes with consumerism is a ghostly presence in each scene and the fact that this idea is never discussed directly makes it even more effective. 

Please feel free to leave your thoughts and opinions in the comment section below! 

Cuddles runs at the Ovalhouse Theatre until 1st June 2013.

Box office: 020 7582 7680 or book online at http://www.ovalhouse.com/whatson/booktickets/cuddles