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Writers Stephanie Silver and Amelia Marshall-Lovsey bring to the online stage “Walk of Shame”, produced by Caley Powell for Glass Half Full Productions.
Stephanie Silver’s performance as Alice the disillusioned, bored girlfriend of Billy. Where the idea of another night in doesn’t appeal to her. After cooking her fish and chips from his freezer he mixes the mayonnaise in the ketchup which Alice loathes and he knows this. This tiny catalyst is the final straw and her anger rages inside and she decides to go out and “get some”.
The no holds barred attitude from Alice leaves the viewer under no disillusion about what she is looking for and how/where she intends to find it. Then enters Liam (Sam Lando) who fuelled up on cocaine and alcohol shares the same aim as Alice, to get “some”.
There are no grey areas around the rules of consent. No means exactly that, No. Alice clearly states “No” drugs and alcohol are no excuse for not understanding this. Which in Liam’s state and through his dialogue means he reads the situation differently or does he?
The powerful language throughout the performance pushes home the passion and energy of Alice’s intense emotions. Fueled by rage her heart steers the storyline throughout most the performance.
Once again Glass half Full Theatre bring to life another modern-day issue without any “sugar coating” or censorship. Please be aware that this production carries a strong trigger warning.
Glass Half Full plan to take this production on tour when restrictions are lifted. Taking this powerful piece directly to their targeted audience in Colleges and Universities educating the students to understand and be clear about the rules of consent. An important rule to be understood and adhered to by everyone.
This product along with 51 other shows is part of the new Season 2 at the Online Space (link available below) from the 8th-31st January 2021. It’s all free to watch yet any donations made would be gratefully received.
After much uncertainty during this year of lockdown and Theatre closures. The King’s Theatre has bought the Pantomime back to Portsmouth just in time for Christmas. With many seasonal events cancelled it’s fantastic that some Theatre’s are now staging productions again.
Starring Sean Smith as Dick Whittington, James Percy as Silly Billy and the traditional ‘baddie’ Queen Rat performed by Julia Worsley the very talented cast bring laughter, music and all-round family ‘feel good’ fun to the stage.
Jack Edwards in the role of Dame Dolly once again bought the classic role of the pantomime Dame to life. This is my second year reviewing at The King’s Theatre and Edwards was one of the reasons I chose to return. With an abundance of charisma and flamboyant costumes it’s no wonder he is chosen each year.
For each performance, the audience is asked to name Dick’s cat (Billie-Leigh Roberts). Tonight she was called Eileen, much to the amusement of the cast. I was completely in awe of her costume, the detail and colours are fantastic. The attention to detail in her make up are phenomenal an absolute credit to Ronnie Parr’s eye to detail.
The comedy in this year’s production has been aimed at the adult audience as much as the children. After such a turbulent year Theatre goers certainly welcomed the laughs as the raptures from the auditorium proved. My teenage daughter found the adult humour hilarious and was pleased I had persuaded her into accompanying me.
Social distancing and no contact rules took place between the cast, many comedic references being made throughout the performance. The use of a magic light switch incorporated into the script allowed scenes like a kiss to take place when the auditorium plunged into darkness and all you heard were the sound effects. Very simple but effective device.
Choreographer Becky Herszenhorn alongside Director/Writer Paul Hendry has most certainly had their work cut out in this seasons pantomime. Yet the production doesn’t lose any of the magic or entertainment that you would have normally expected. They deserve to be very proud of what they have achieved during these unprecedented times.
Along with my hard to please fourteen-year-old critic, we would both highly recommend Dick Whittington as a definite Christmas treat this year for all the family. Huge congratulations to everyone who has been involved in bringing it to the stage.
Running from 8th December 2020-3rd January 2021. Please use the link for tickets and further information.
Soho Theatre on a Friday night would have usually been thriving with Theatre goers and tourists milling about outside. Instead, I watched their latest online production broadcast via the zoom platform The Boss of it All starring the extremely talented comedian and actress Josie Lawrence from the comfort of my own home. While the actors were in the comfort of theirs.
The Boss of it All has been based on the 2006 film of the same title by Lars Von Trier. Writer/director Jack McNamara’s clever play ridicules those who believe they are in charge while failing miserably and manipulating others in an attempt to cover up their own failings and inability to manage anything.
The zoom production watches Josie Lawrence as the actress Kristina who has been hired to pretend to be the new boss of a group of managers. She bumbles her way through the appraisals where we see each of them attempting to make it up as they go along. It was lost on me what any of them would actually be capable of managing.
Ross Armstrong as the questionable manager Ravn turns out to have been masquerading as one of the team for years to avoid being in charge. He appears at times to be incompetent yet the way in which he has set up Lawrence’s character to oversee the unwelcome measures he is imposing are cold and calculated firmly placing himself in charge. Definitely not someone anyone would trust and you can’t help but question what he has actually done in all this time while working for the company.
It took me a while to be accepted into the production which left me wondering if this was part of the performance. During the streaming, at times the screen went blank which I guessed was all part and parcel of the atmospheric setup. Instead of being frustrated by the technology failure it just added to my enjoyment. Art imitating life sprang to mind.
The convenience of online Theatre has a lot of plus sides to it yet in all honesty as a reviewer I miss the adrenaline rush of watching live Theatre. However, this particular production has been brilliantly directed and works perfectly in the popular zoom meeting format. Allowing the audience to suspend their disbelief in order to imagine that all the managers were located around the globe. Aimlessly appearing to be managing absolutely nothing at all.
Sadly this online show has an extremely short window and I am hoping they make it available to watch after the run is over. As each night the show hosts a new guest appearance, Friday’s performance was the cabaret artist Le Gateau Chocolat. As it stars the queen of improv Josie Lawrence I can not imagine that each night will follow exactly the same script.
For more information on this production and other things being shown at the Soho Theatre check out the link below.
Edinburgh Fringe venue The Space has created a range of online productions that are available between 8th-30th August 2020 during the time in which the Festival would have been taking place. With lockdown taking its toll on the entire Arts and Theatre industry many productions have created online performances.
One of the productions available is After the Turn: The Mystery of Bly Manor which has been written and directed by George Cooper and Ellie Hardwick the writing duo have set their piece five years on from Henry James’s novella The Turn of the Screw.
The television-style documentary production uses interviews from friends and family to piece together the events leading up to the mysterious tragedy surrounding Theodora (Eilidh Gibson). The main focus in presenting the evidence takes the form of video diary entries which she had left behind. These are sensitively presented by her dear friend Marcus Bryson (Brian Weldich).
Theodora Hill was hired as the governess for the two Bly children Miles and Flora while in residence at Bly Manor. The excitement and enthusiasm in accepting her new role are short-lived as a stranger appears unsettling her and causing immense anxiety. The dark and eerie mystery surrounding Bly Manor soon begins to unfold before her.
The gripping short ghost story created by James in 1898 has been captured in this modernised version. The cast brilliantly succeeded in creating the horror and dread first bought to life through the original novella.
It’s extremely tempting with a production of this calibre to write an in-depth review explaining everything that they have achieved. However, I don’t want to spoil anyone’s enjoyment of the chilling performances. Therefore, I would strongly urge you to take the time to watch it while it’s available online.
As creatives have begun to produce work during the COVID-19 pandemic. This is one of the exceptional examples available until August 30th. Nine Knocks Theatre company have shown the wealth of talented actors in their company along with their ability to create a powerful and atmospheric performance without actually being on the same stage.
Stranded by Marcia Kelson began on August 15th which is the second production I have watched by Kelson as part of Online@The SpaceUK fringe. The first one “The Plague Thing” was part of the first group of productions released on August 8th. Which I would highly recommend watching.
After nine months of travelling abroad without so much as a “hello” Mum (Lesley Ann Jones) finally has a phone call from her daughter Sarah (Caroline Salter). The video call sees Mum at the kitchen table while talking to her Daughter who is sunning herself in Peru.
Following a brief geography lesson from Sarah explaining where and why the country’s she has travelled to, Mum becomes exasperated with her. Sarah’s irresponsible behaviour about taking a “scenic tour of South America” while the world is in the middle of a pandemic is brushed off and Mum realises that the catch-up phone call is actually just a request for money.
However, Mum has a life-changing revelation of her own and Sarah doesn’t find her parents to be in quite the same situation that they were before she first left. The humour scattered in this nine-minute production is recognisable to many parents with older children who seem to forget that they are now responsible for themselves.
Stranded is available until 30th August at Online@The SpaceUK which is part of the Edinburgh Fringe online catalogue of productions available in the absence of the 2020 Festival. Links to this production and The Space are available below.
After the disappointing cancellation of the 2020 Edinburgh Fringe, where No Logo had been due to be performing at Underbelly Wee Coo throughout August. The company has released this short preview piece. Staring First Fringe winner Moj Taylor this short preview piece written by Andy Mosley allows the audience a taster into what they can expect in the full performance.
The backstage area of a theatre can be a lonely place once the lights from the stage are switched off. During the transition between the character returning into the actor there begins a time of reflection as Christopher begins to remove Lady Christina’s makeup and he returns to reality.
Upon looking in the mirror the father that once abandoned Christopher is starting to look back at him. As the removal of the stage makes up begins he engages in conversation with his absent father in an honest and unfiltered dialogue exploring the feelings left behind after bringing shame to the family for the Crime of being “gay.” However, as the conversation unfolds we discover who really had bought shame on the family?
Dealing with our demons thrust upon as children they can leave deep marked scars that were never our predetermined values or ideals yet those told to us until we eventually believe them. The battle between nature and nurture often rumbles beneath the surface in all families. Leaving a trail of unsaid conversations, confusion and hurt behind.
Director Bethany Blake creates an extremely atmospheric setting in which Taylor delivers a moving and heartfelt performance. Personally, I am really looking forward to seeing the completed production.
Please check out No Logo using the online link below and judge for yourself. Subject to COVID-19 rules being changed it’s also scheduled to appear at Brighton Fringe in October 2020. For more information follow the No Logo productions link underneath.