Original review for the Reviews Hub
With a pitter-patter of petite feet and a-pocketing of confectionery, paper planes, and a crisp packet for a great escape, the Factory Theatre is the magical, mischievous, pocket-sized Clock family’s giant playground this Christmas. With witty, loveably believable writing from Bea Roberts, The Borrowers is a whimsical little wonder to warm all hearts this wintertime.
Under the energetic, gentle direction of Nik Partridge, this playful adaptation of Norton’s novel is as delightfully confident and unapologetically joyful as Jessica Hayles’s tiny courageous teenager, Arietty. With her petrified father Pod (Craig Edwards) and plucky mother Homily (Peta Maurice), brave, acrobatic Arietty and the Clock family are forced to escape from their home – with the heroics of Eddie, the bashful human boy she befriends – when bleach-fanatic Aunty Val and her vacuum move in above the floorboards. It’s a cutesy yet timeless tale of compassion, family, and courage, and its perfectly pitched comic performances, particularly Lucy Tuck’s fantastically fanatical Val, fill its pockets full of mischievous charm.
There’s charm in the magic and mischief too, Continue reading “Review: The Borrowers – Tobacco Factory Theatres”
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”
Like the English at Agincourt, Shakespeare at the Tobacco Factory aren’t unshaken, but they are victorious
Henry V, the final play in Shakespeare’s historical tetralogy, focuses on King Henry’s campaign for France, victory at Agincourt, aggressive patriotism, coming-of-age, and eventual political treaty and promise of peace with his marriage to Katharine of Valois.
From the English court to the fields of France, the performance asks a lot of our ‘imaginary forces’, even to ‘piece out [its] imperfections with [our] thoughts’, and this overt theatricality is, like King Henry’s army at Agincourt, defensive – attacking, forgiving and apologising for its faults – and defenceless in the face of a much greater force: the audience.
And, like the English at Agincourt, Shakespeare at the Tobacco Factory aren’t unshaken, but they are victorious. Elizabeth Freestone’s direction is austere, with the action playing out in a darkly industrial dystopia characterised by Lily Arnold’s greyed costumes and frayed edges, steely drama and gravel underfoot. Continue reading “Review: Shakespeare at the Tobacco Factory’s Henry V – Tobacco Factory Theatres”
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”