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”
Joyous and tragic and tear-jerking and gorgeous
Shakespeare, ‘star-cross’d lovers’, ancestral strife, and… an open-air swimming pool? Insane Root Theatre’s ‘fair Verona’ is Eastville Park Swimming Pool, an empty, open-air pool just east of the city, and it’s the surprisingly perfect place to lay our scene. Rich as it is in imagery, romance, and rivalry, Insane Root’s Romeo and Juliet is joyous and tragic and tear-jerking and gorgeous, with its greatness cleverly tucked away at the edge of a green and covered by the gates of Verona.
An old amphitheatric Victorian lido, the pool is drained and derelict, thick with undergrowth, and growing ever darker in the dusk: these are organic grounds for a tragedy, but the true ground for tragedy in Romeo and Juliet is the jarring generic change that comes with Mercutio as a casualty in Act III and transforms a coarse, oftentimes juvenile comedy into the tragic ‘two hour traffic’ augured in the prologue. With canonic characterisation as a tragedy, it’s often challenging to pitch the comedic tone, but as Insane Root tease out the originality of classic plays by performing them in original, often unexpected, places, the pool is perfectly pitched to accommodate tradition and creation, comedy and tragedy, and to grow them together organically. Continue reading “Review: Insane Root’s Romeo and Juliet”
Playful and powerful
Memory is a cruel mistress: meticulous and muscular, ephemeral and fractured and fragile, it’s all too easy to forget how crucial memory is to character; after all, what – or who – is left when memories are forgotten? Theatre Re’s thoughtful and affecting The Nature of Forgetting is a free fall into the forgotten that captures the complexities of memory through gorgeously nostalgic movement, mime, and accompanying music.
A devised work that delves feet first into the devastating effects of dementia on fifty-five year old Tom, it’s a work that’s sumptuous in its simplicities. Malik Ibheis’s minimalist set, props, and costumes use only a central platform, four writing desks, and two packed, moving clothing racks to transform Tom’s muted present into his cacophonous past, with an eclectic, electric live score from Alex Judd that complements the chaos with discord and the calm with a dreamlike depth. Continue reading “Review: Theatre Re’s The Nature of Forgetting”
Bravely unmasks the effects of battle with verity and verve; valuable, beautiful viewing
‘His hardest battle is the one back home’: far from the battlefield, free from bullets and bombs, and back with family and friends, the fight is over – or is it? Vamos Theatre’s A Brave Face faces the fear and effects other than physical felt by veterans in the aftermath of the UK’s involvement in the Afghan conflict; a fight, like the aftereffects of war on the armed forces, with no conclusion and no victor.
Words feel worthless in the face of war: it’s a physical, visceral thing, and Vamos voice that with masks, movement, mime, and music, and they voice it mutely. Voicelessly, the plot follows a young man, Ryan, posted to Afghanistan, and sees him lose more than a mate to the fighting, as he returns from the field with Post Traumatic Stress. The themes are heavy, but Vamos reveal them with heart and humour: Sean Kempton’s stereotypically pumped-up macho-man parades his press-ups as an intimidation tactic, Ryan and his comrade-in-arms Ravi – a playful and perfectly panicky Rayo Patel – make much mischief, and there’s a performance as unexpected and meticulously executed as any military operation. Yet, heart-shattering moments haunt the humour, Continue reading “Review: Vamos Theatre’s A Brave Face”