Original review for the Reviews Hub
Thrilling athleticism and beautiful artistry
A lot of grit, graft, and grazed knees go into greatness, yet for ‘showgirls’ in the ‘greatest show on earth’ the nightly danger is disguised by grace, discipline, glitz, and offstage doughnuts. Ellie Dubois’s circus celebrates the blood, sweat, and bruises of her acrobatic ensemble and aims to articulate, through biography, the physical and psychological labour of its thrilling athleticism and beautiful artistry.
The circus is where artist and athlete intersect: in their striped-and-sequined strips, the freeform structure of the evening features the five female performers striving for perfection in their physical feats, from aerial stunts to striking contorted poses. There’s no flying trapeze or tightrope, twisting and upturning our expectations of circus as effortlessly as the tricks are executed, and though they often don’t feel ‘death-defying’, their dexterity and physicality is still exciting, especially Camille Toyer’s lyrical performance on the Cyr wheel that’s preceded by an explanation of the danger if she were to put a foot or finger wrong. Yet, there’s an assurance, from Kate McWilliam, that she won’t; after all, ‘we’re professionals’.
Even professionals have imperfections, and the physical effort it takes to achieve perfection is as much a part of the performance as the tricks. Continue reading “Review: Ellie Dubois’s No Show – Spielman Theatre” →
Original Review for the Reviews Hub
A blissful, beautiful thing
‘Once I believed that when love came to me, it would come with rockets, bells, and poetry – but with me and you, it just started quietly, and grew… and it’s getting better.’ Beautiful Thing at the Tobacco Factory Theatres begins with a beautiful chorus of Mama Cass’s ‘It’s Getting Better’ from a community choir, and it’s everything this urban fairytale should be about: affection, optimism, and community.
Written in the nineties, 2018 is its 25th anniversary, and with age it’s grown a warm, nostalgic naivety from the nearly anarchic work it was then. It is ‘getting better’, but the heart-breaking effects of homophobia aren’t, and the Tobacco Factory’s Beautiful Thing is heart-warming, celebratory, bitingly funny, but also a remembrance of just how ground-breaking Jonathan Harvey’s work was just for being about the beauty of two gay teenage boys falling in love with each other.
And maybe it’s the absence of any ‘bury your gays’ symbolism that’s so ubiquitous in LBGTQ+ literature that gives Beautiful Thing its ‘urban fairytale’ subtitle. Continue reading “Review: Beautiful Thing – Tobacco Factory Theatres” →
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” →