Original review for the Reviews Hub
Mischief, magic, and as much charm as the original tale
‘Just because I find myself in this story, it doesn’t mean that everything is written for me’: ah, the wisdom of children – the whimsical wonder and childlike delight that children can’t wait to outgrow and adults wish for once again is the foundation of Roald Dahl’s classic children’s literature. With all of Dahl’s wisdom and a little childlike wonder, Matilda the Musical is Denis Kelly’s delightful adaptation of Dahl’s Matilda, the wisest little worm of all.
A precocious child prodigy flipping through Dickens and Dostoevsky at five years old, Matilda is desperate to grow up and escape from a family – coiffed and vociferous in fantastic performances from Sebastien Torkia and Rebecca Thornhill – that prefer the sedative effects of television to the fanciful dance of their daughter’s fairy tales. Escaping to the autocratic tutelage of Crunchem Hall, Matilda is taught the toughest class of all: even teachers, like Carly Thoms’s ‘pathetic’ and empathetic Miss Honey, can’t escape from ‘fighting the creatures that you have fight each night’, even if they’re all grown up, and particularly if that creature is the terrifying Trunchball. Continue reading “Review: Matilda the Musical UK Tour”
Original Review for Broadway World UK
Physical theatre full of aching truth and tactility
Theatre is physical: freed from the spectacle, theatre is the study of individuals in space; the effect of those specific individuals on that space, and, as perfectly illustrated in Gecko Theatre’s Institute, the devastating, and, eventually, unifying effect of a specifically institutional space on its individual occupants.
Artistic Director, deviser, and dancer Amit Lahav envisions an industrial dystopia that crystallises as set designer Rhys Jarman’s greyed and glowering citadel of desks and towering drawers. Alight with Chris Swain’s versatile lighting and singing with Dave Price’s lyrical original score and the electric dissonance of Nathan Johnson’s sound design, it’s a transcendent stage for a set of devised, genre-defying vignettes.
Though the nature of the institute – for sanctuary or incarceration, as a vision of an austere future or a vestige of an afflicted past – is strategically vague, and the narrative structurally nonlinear, the physical and psychological effects that institutionalisation elicits are evocative and visceral. With flashing lights and electronic strikes echoing through the space and inflicting the strict structure and invasive feel of the Institute on the spectator and occupant alike, it’s physical theatre that forces itself to be felt. Continue reading “Review: Gecko’s Institute – Bristol Old Vic”
Original review for the Reviews Hub
As tough, worthy, and well-tailored as a pair of Price and Sons’ shoes
‘Trust your feet in Price and Son, our work is tried and true: practical, pragmatical, steadfast, and steady, too’: so echoes the omnipresent theme of Price and Sons shoe factory, yet this musical is as far from practical and pragmatic as the magnificent shoes it manufactures. With music and lyrics from legendary musician Cyndi Lauper and adapted by Harvey Fierstein from the 2005 film, Kinky Boots is a musical with leather, lace, legacy, and hopes as high as its heels.
Charlie Price’s father leaves him with some very large, old-fashioned shoes, and the underperforming, ‘practical, pragmatic, and steadfast’ factory – intimidatingly industrial in David Rockwell’s well-worn, multi-levelled set – to fill. As Lola, a stylish, deliciously witty drag queen, struts into this dated, industrial, dogmatic world, she sets it alight with sequins and dancing, yet is as unsteady as Price and Sons’ outmoded men’s shoes are steady in stilettos not designed for feet of her width or weight. Seeing an opportunity to serve an ‘underserved niche’ in the footwear industry, it’s in a pair of sturdy, outlandishly stylish shoes that an unexpected friendship develops between straitlaced, lost Charlie and extroverted yet equally adrift Lola.
Yet, the soul of the show isn’t in its shoes. Continue reading “Review: Kinky Boots UK Tour”
Black, beautiful, and brilliantly funny
Beauty pageants and bus boycotts seldom belong on the same page, but in Chinonyerem Odimba’s joyously playful and beautifully played Princess and the Hustler, they’re brought together by Princess James, a flamboyant young girl who is black, beautiful, and brilliantly funny. Odimba’s play, also black, beautiful, and brilliantly funny, focuses on an oft-forgotten and unforgivable time in Bristol’s past, the Bus Boycott of 1963, and is part of theatre collective Eclipse’s ground-breaking programming of Black British narratives.
As the sister to Junior, a nascent photographer engaged in the fight for civil rights, with her no-nonsense mother Mavis only just earning enough to finance her family and her estranged father knocking on the front door with a new daughter in tow, Princess’s narrative is overflowing with new-fangled influences. Yet, it centres on Princess’s natural hair as much as her city’s history, Continue reading “Review: Princess and the Hustler – Bristol Old Vic”
Poetic, fragmented and poignant reflection on race, forgetfulness, and legacy
‘Will there really be a morning? Is there such a thing as day? Could I see it from the mountains, if I were as tall as they?’ For Lewis, an African American mathematics professor in the throes of an insomnia and amnesia plagued night in the nineties, with his refusal to go to the Million Man March threatening his marriage and his forgetting of past generations’ plights triggering a tense confrontation with them, it feels like a morning will never come.
From the night emerges a poetic, fragmented and poignant reflection on race, forgetfulness, and legacy enlightened by two fine performances in a thoughtfully directed production from Eleanor Rhode as part of the Ustinov Studio’s UK premieres from the Americas.
Tanya Barfield’s beautifully written Blue Door – a symbol descended from the traditional belief that a door of blue would ward off demons and devils – debuted in 2006, but the black narrative it lays bare, from bondage to defamation, is, like the tonal beats of Barfield’s songs, still drumming on our doors. Continue reading “Review: Blue Door – Ustinov Studio”