God Save the (drag) Queen: part drawing-room comedy, part clowning, and part drag, Parlour Games is a most unconservative portrait of the Victorians. With a grande dame, a Deutsche clown prince, and any delusions of grandeur doused with playful cross-dressing, it’s a comic delight with a melodramatic crown.
From Sharp Teeth – and with even sharper wits – the show bites into the beliefs one has about Victoria and Albert and clothes the bare bones in cabaret, biting wit, and an unbelievably bad wig. Playing parlour games while a political revolution rages in England, Victoria and her Prince Consort wait out the people’s anger with their pathetic, piano-playing servant – the wondrously droll and overworked Andy Kelly – as the past, overprotective ghosts, and their courtship appear in a series of raucous vignettes.
With revolution reigning overseas and Chartists threatening the English throne, Continue reading “Review: Parlour Games – The Wardrobe Theatre”
Haunting and humorous: an experimental examination of the history of homosexuality
‘You may find this morally wrong. I don’t’: the irreverent, fearlessly truthful, revolutionary reaction of Geoffrey Patrick Williamson, a teenager arrested in Taunton in the fifties after approaching a plain-clothes police officer while travelling on a train. His crime? Existing as a homosexual, and what a haunted existence it was.
A Haunted Existence is writer and performer Tom Marshman’s response to this South West story, the arrests, imprisonment, and inhuman treatment that followed, and the haunting effect the history of homosexuality still has on its future. Hosted at The Island, an old police station with some insightful installations to explore in the empty cells, A Haunted Existence is a lecture-come-floorshow with a little séance at play, too. The performance focuses heavily on the collective past of homosexuality, with Marshman echoing the harrowing experiences of these men with repeated phrases like ‘they were in it together, they were in it alone’, and ‘I imagine…’
And Marshman’s imagination is magnetic. Continue reading “Review: A Haunted Existence – The Island”
Hefty, hearty & gorgeously green
An offbeat fairytale about being a believer in happily-ever-afters for the beautiful and ogreish alike, Shrek the Musical is a hefty, hearty, gorgeously green show that lets its Freak Flag fly but its originality fall victim to fart gags and the far-greater film.
The original film won an Oscar and a legion of fans for its animation and imagination, but originality is what’s lost in the musical: though full of animated characters and moments of imagination – with magical transformations, Josh Prince’s rat-tapping choreography, and impressive puppetry – David Lindsay-Abaire’s book is indebted to the film for its laughs and adapts its famous lines and filmic beats verbatim. Whilst as bold and bright as the film, it feels less than fresh, and with lots of allusions to other musicals, some of them also from movies – from Les Misérables to The Lion King, Gypsy to Dreamgirls – forced in without rhyme or remark, the musical emphasises, albeit affectionately, the flaws and imitations of its book.
The musical – and Jeanine Tesori’s music – is at its greatest and most unforgettable with its most familiar fairytale characters, Continue reading “Review: Shrek the Musical UK Tour”
All the blood, guts, and glory of any good Western
Welcome to the Wild Wild South West: from gunslinging to cider, saloons to cancelled services, lone wanderers to line-dancing, giddy-up as the Wardrobe Ensemble drag us through a Western revenge voyage from Bristol through the best of the West. With all their charm, cheek, and wry wit, the Bristol-based Ensemble’s South Western is ambitious and offbeat, with all the blood, guts, and glory of any good Western.
Mae’s father was killed at the Cornish cliffs, and she’s off to avenge him: the camera tells us so, as it cuts to a close up of the vein on her temple and pans to her clenched fists. At least, it would, if this were a Western, Ben Vardy’s visiting Wyoming film professor tells us at the play’s opening. South Western works like the wildest lecture, with the professor calling the shots – ‘cut to close up’ – until the pivotal shootout: from there, it’s up to Helen Middleton’s determined, short-tempered Mae, and her imagination, to direct – and deconstruct – the showdown with crash mats and chroma-key.
Framed by this deconstruction of the Western filmic form, South Western wittily deconstructs theatrical form too, Continue reading “Review: Wardrobe Ensemble’s South Western”
Monstrously entertaining and wildly imaginative
Something is lurking in the dark: your deepest fear, your demons, your darkest moments… what frightens you the most? Is it monsters? Or is it the monotony of your early twenties? Wilderbeast’s monstrously entertaining and wildly imaginative In the Light Everything is Brighter illuminates the nightmare of monotony in witty montages and monstrous images and boldly enlightens and engages with the anxieties of a new generation.
Elliot is 22. Work is dull, mates are moving away, and motivation – even to load the dishwasher with the mountain of mugs he leaves in his room – is low. Life is, literally, a drag, and Wilderbeast use it to grating effect in moments of the performance that play out in real time, as when Oscar Adams’s wonderfully weary Elliot and workmate Liz eat sandwiches in silence for five minutes: it’s wearisome and it’s weird, but it works. With real time grinding against monstrous stylism from monster and movement director Toby Pritchard and absurdist breakdowns in supermarkets, it’s muddled but brilliantly disturbing.
Formed through Bristol Old Vic’s programme for young theatre makers, Wilderbeast are a collaborative and versatile collective. Continue reading “Review: Wilderbeast’s In the Light Everything is Brighter”