Every young girl is a free spirit, but this little puppet is especially wild… A review on ‘Wild Wilma’ by Moth Physical Theatre

Moth Physical Theatre are certainly making their mark on the theatre world. This brand new show which opened this month, at The White Bear Theatre in Kennington, is such a lighthearted yet skilful piece of work. The cast gave a small disclaimer at the start of the show about it still being a working progress and how they welcomed any written feedback at the end, so I was even more intrigued to see what stage the production was at…

… and it is fair for me to say, it’s at a pretty amazing level already! The detailed puppets of Bebe the bear and Wild Wilma were brought to life by fantastic physical and vocal qualities of the cast, displaying beautifully honest characters which blossomed throughout the play. The casts’ use of breath and heaviness when controlling the bear in comparison to the light and sweet qualities of Wilma created a great dynamic on stage, it was the differences between them that enhanced our love for this unlikely friendship.

My only wish was for the first encounter to be slightly elongated, so we (the enraptured audience) had more of a chance to urge on the friendship, and then fall suddenly in love with the beautiful moment where the bear first carries Wilma in his big bear paws. (There’s always a moment that I fall for in a show, and this one definitely robbed my heart.)

The original score was particularly prominent in scenes where the puppetry was the main focus, such as when Wilma attempts the tight rope after the Mistress’ harsh training; the track fit very well with the action. The only place I wish the music had been slightly different was the chase scene between the Mistress, Wilma and the bear, as the actors were so wonderfully larger than life it would have been great to have music which was just as intense. However when Wilma dreams of a wild and free forest which she wishes to escape to, the music complimented the scene beautifully, and the cast’s vocals on the tracks were stunning.

The puppets interactions with the other characters was organic and believable throughout. The Mistress; a mean circus owner whom adopts Wild Wilma, was played by an actress as lively as the animated puppets, and her villian-ness brought much needed comedy to the show (I may or may not have just made up the word villian-ness, but it’s a perfect description so no judging). The way her character was introduced to us, through the words of the children’s author Rachel Lyons who scripted the play, was comedy genius! As was several other audience interactive moments the Mistress had… I won’t be a spoiler, but they did make me giggle.

This family friendly show is perfect entertainment for any age group, full of humour, beautifully designed puppets, wonderful storytelling and original music, I would definitely recommend taking your daughter, son, niece, nephew, or even grandma to watch. Cannot wait to see the polished version of Wild Wilma… although this show is definitely a shiny gem already. Moth Physical Theatre is definitely a company to watch out for!

Without our memory, how would we hold on to ourselves? A review on Moments by Ride The Wave Theatre Company

This movement based performance by Ride the Wave Theatre Company delved into the importance of memory, and encouraged the audience to consider what aspects of your life makes you who you are.

Our memories are an album of moments (Yes I know I should not be using the title willy nilly… but it’s hard not to, you know) in our minds of what we have experienced which make us who we are today. We forget (pardon the oxymoron) how hard it would be to be ourselves if we did not remember; we take it for granted. This honest piece of theatre reminds us to appreciate our memories, and also understand the struggle others must go through who cannot remember.

The plot focuses on George, a young man whom has moved to the city to pursue a career in photography. He begins a private project collecting photos of the wonderful, colourful people in his life. Which seems, at first, to be a thoughtful hobby of George’s, yet we eventually learn of its significance.

This movement based performance was full of strong performers, who each brought their own comedic flare, and their own physical style. It was beautiful to watch them move together; especially the rewind sequence at the beginning. My only wish is for there to be more of these fantastic sequences throughout.

The use of projection was a clever choice to display the moments (that word again… I will stop, promise) George would capture with his camera. He would take a photo on stage and immediately a pre-taken image of the character would pop up on the screen; mirrored physicality yet in the actual environment rather than on stage.  If I had a hat on, I would take it off to the director Lucy Blake for this genius idea. Not only did it help us visualise the environment by giving the minimal set another layer, but it also gave substance to George’s life and our connection with him strengthened.

Like previous Ride the Wave shows I have seen, comedic timing was perfect. Those lighthearted moments (I can’t stop using it, I can only apologise) are so crucial when dealing with such sincere topics, which this company tends to address often, such as the illness George is suffering with. In fact, this Ride the Wave production had a particularly great ensemble; their commitment to character, and dialogue between them was rich and alive. There was certainly never a dull moment (I know, I know.)

If you get the opportunity to catch ‘Moments’ then grab that ticket with your eager fingers and go! If not, eyes peeled for the next Ride the Wave production… it’s no doubt going to be worth seeing… and full of great moments. (couldn’t resist.)

‘Raising a glass to the absurdity.’ A review on ‘My Friend, My Partner’ by Ride The Wave Theatre Company

This devised 30 minute piece of comedy genius was a great way to spend my Wednesday evening. A combination of physical madness, symbolic props, and hilarious expressions made this wordless show a perfect debut production for Ride The Wave Theatre Company.

The two actors; Lucy Blake and William Townsend, who also devised the show themselves, had obviously put immense research and effort into this performance. Their characters’ sweet, delicate, (and at times fickle!) relationship brought life and colour to the little black box theatre in The Pleasance. It was satisfyingly clear, and certainly humorous, to watch the two interact with a mixture of sounds and body language. Which made it all the more heartbreaking when Lucy’s character found a new friend; alcohol.

The absurd nature of the piece keeps your eyes wide (and your smile wider) with anticipation. One aspect of this being the use of bizarre props, from colourful oversized glasses (representing alcohol, because you know… you serve a drink… in a glass… don’t worry, my penny didn’t drop until it was mentioned in the Q&A post show!), to hundreds of post it notes, to fun woolly hats (which the characters loved as much as an over fed pet); all valid to driving the plot forward, believe it or not. The clever and clear symbolism of each prop was a reflection on the actors fantastic attention to detail when devising. Another element of absurdity was the occasional use of prerecorded verbatim, which added yet another layer to this dynamic piece.

A brilliant moment during ‘My Friend, My Partner’ was when William’s character lost his beloved woolly hat by throwing it too high in a drunken frenzy, resulting in it getting caught in the rigging above the stage. The audience erupted with laughter (myself included), and the references which followed were hilarious to say the least.

In just 30 minutes the space was transformed through utter chaos from this minimalist set with tape outlining two restrictive boxes, to a loud and colourful mess which told the story of a journey towards and then the struggle with alcoholism.

As an audience member my love for the characters and desire for them both to find happiness was equal, and to chose between them would be like asking if you want the gin without the tonic or vise versa; unthinkable. (Maybe not the best comparison considering the topic at hand, but you get the gist.) In the half hour they managed to display a convincing connection between them, I just wish they had a longer time frame to develop this further, as I was intrigued to know much more on there feelings towards one another.

The hopeful ending was again a great reflection on their understanding as theatre makers. Not only did it give the show a much needed balance but it also provoked the audience to consider their own relationship with alcohol, and to understand the effect this can have on the people in their lives.

Certainly excited to see what this young, refreshing company produces next! Fingers crossed there will be more surreal, honest, and hilarious moments to replay on the tube home…

 

‘Old age looks you straight in the eyes, and occasionally makes you giggle.’ A review on ‘The Lounge’ By Inspector Sands

Inspector Sands theatre company has pulled a great one out of the bag with this talented performance about reaching the age when you face is lined with wrinkles and your pace is now that of a slow loris… 

Are you terrified of growing old? Of becoming a wrinkly body full of intellegence that people don’t take the time to notice? Of a time when people won’t bother to look, and I mean really look at you? Or have you not really thought about it? I hadn’t. And it wasn’t until I saw the actress (who came in pretending to be an audience member… Cheeky spoiler) take the stage, and begin to morph into an elderly version of herself, whilst a carer faft around her. 

  

The physicality throughout was incredible. Like nothing I have ever seen. I was impressed beyond words (which is rare for me…). This woman; standing tall and looking healthy, within seconds had aged to become 97 year old Marsha Hewitt with a bad hip. And I remember thinking, I wonder what I will look like, stand like, talk like… I wonder how people will see me.  

   

A powerful piece of theatre to say the least. All three performers exceeded expectations; their quick change of physicality, accents, expressions… It seemed like a cast of 10! We are taken on a hilarious yet truthful journey through the eyes of Marsha Hewitt, whom just wants to peacefully die but is constantly interrupted by offers of food (which she frequently refuses or tips into her handbag), overly loud Jeremy Kyle, murderous disputes and, of course, relatives… The lounge is hectic, and there is most definitely a riot brewing.

  
It all seems like a regular care home until strange things start to occur… Beautifully surreal. A truly moving, mischievous, impressive, and hilarious piece of theatre!

‘If only the ‘perfect’ women were chosen to reproduce… what would happen to the rest of us?’ A review on ‘Unnatural Selection’ by OPIA Theatre Company

In the waiting room of the compulsory Game Show ‘Select me out’ there is four young women with very different personalities, but they are all full of hope… And fear. They hope that after a mere three minute presentation on live television they will be the one chosen to reproduce (yes, only ‘one’.. Yes, there is four). And trust me, you do not want to be leftover. 

This interesting yet scary ‘game show’ concept is familiar within our society, and I am immediantly intrigued to know how it works and what will happen to the participants… 

  

I sat on a seat which had slip of paper, it read: ‘In Egypt, 91% of all females that live there have been sexually mutilated. In London’s borough of Southwark, 1 in 20 have been mutilated…’

 I am shocked. Female Genital Mutilation (FGM) happening in London… My capital city. A city of freedom and pride, a city full of acceptance, but yet somehow this horrific crime takes place. I don’t think about Egypt until now.. Of all those women going through unimaginable suffering everyday. The house lights fade and the thought gets swept to the back of my mind, but with each scene it starts to creep forward, until I can feel the full weight of this extremely inhumane act. 

  
The performance was executed with professionalism and characters were highly entertaining throughout. Although, I would like to know more about the character of Nicki, her fears were clear but I thought an underline plot of why she hadn’t been chosen yet may give her more depth. However this did give a mysterious element to the character (a kinda dark horse.. Ooo), and the play is already a perfect length… So maybe I should just shut up.

The contestants bickering and opinionated natures cause high tension in the small waiting room, and this mixed with their quick wit and fantastic comedic timing makes for a hilarious dark comedy! 

The pace of the piece kept the energy up, but some lines were lost through talking too fast… And it’s such an interesting script I wanted to hear it all! But it was their opening night in edinburgh, and some of us get nervous asking for extra ketchup so let’s not judge. (Yes, I’m talking to you).

But on a serious note, this show is raising awareness on such an important issue, and I am inspired by the talent and drive of this new theatre company. This ‘unnatural selection’ is worryingly imaginable in our messed up society of today, and by addressing these issues we might help prevent a real-life ‘select me out’ coming to our TV’s!

   

On the end of the slip of paper on my chair was:

‘It’s not an African problem, it’s not a Middle Eastern problem. It’s not white, it’s not black, it has no colour. It is everybody’s problem.’

Female Genital Mutilation should not go ignored. It happens everyday to women all over the world. Go watch this amazing performance… Laugh, cry, cringe, and have a good old think. You won’t regret it… (And plus it’s absolutely free) You’ve only got until the 28th so go, go, go!

Taking comedy to a whole new level. A review on ‘A Plague of Idiots’ at Gilded Balloon

Five Gaulier-trained clowns, all wonderfully daring, all as mental as each other, take the stage. Trust me when I tell you this: whatever you are expecting just let it all go, and just embrace the utter nonsense that will come before you.
These clowns are not clowns like you’re thinking (no red noses, creepy smiles or white spotty bodysuits). They are characters, with crazy ideologies, bad puns, and hilarious expressions. 

 
If you’re looking for something totally different from the norm, then this is for you! The scenes are like something from a crazy episode of Britians Got Talent… With acts such as the fire breathing, funny voiced, sexy Pedro with his homemade theme tune and chest hair, and a beautifully funny performer who uses her boobs to display the tragic story of Romeo and Juliet (they also ride unicorn… socks). Dont ask, just know that it is all complete nonsense and allows you to laugh like a child: loud and true.

 

The show is packed full of audience interaction, so much so that you can almost feel a spotlight on the seats. And what do we, humans, love more than watching another audience member being made to do something they didn’t bargain for… Absolutely nothing. (I know, it’s mean, but we all think it… Anything for a laugh right!). 

Socks as cocks, Shakespeare puns, hilarious dance routines, kisses being earned, limbs flailing, bodies wobbling… It’s all brilliantly silly. So get yourself a ticket and if you’re feeling bold sit yourself on the front row… You won’t regret it! 

If Sin was standing in front of you, this is what it would look like. A review on ‘Sodom’ by Fourth Monkey Theatre Company

So first things first… Why did I buy a ticket to Sodom? Well I could have chosen a range of different shows by Fourth Monkey Theatre Company: The Ark, Acension part 1 & 2, The Whale… All of which look great. But there was something about Sodom that caught my eye… Maybe it was the burnt doll’s face on the poster, or maybe it was seeing a dapper man with two dirty, sad, homeless girls who were drinking Ribena, standing on the Royal Mile shouting about Sin. (I’m not gunna lie, it was definitely seeing the dapper man and the confusion of the Ribena… But the poster’s alright to).  

 
As I entered the theatre there was; unnerving music, eerie lighting and scattered dirty people on stage, their bodies frozen in different positions. (I know, creepy right!) This black box theatre had been transformed and I was very, very curious and excited about what was to follow. 

The ensemble work throughout was undoubtably some of the best I had ever seen! For example their choral speaking was on point, and there was a strong connection between cast members which shined in the scenes. Of course, there was some actors which stood out much more than others. But, casting wise, I thought the parts were fairly distributed and they played to their strengths.

An emotional, dark, clever story about the toxic effect of one man’s disgusting incestuous sin on the rest of the town, not for the innocent minded (but let’s be honest, that doesn’t exist). The ambiguous nature of the piece added to the tense atmosphere. We watched from the perspective of a complete outsider to this small town of Sodom… Not knowing why this was happening, or who had the control. We were kept in the dark when it came to specifics, all we knew was: him up there, he controls everything… (so ‘he’ is probably God.. Seeing as it was about sin?) but there was the million dollar question: why? At times the disease ridden ensemble would know more than us, and like a story-flashback, they would tell us what happened before. Before the end, the end where they are all brutally blind, bloodied lace pulled over their eyes… but they can see, clearer than ever, what was happening. (What a lovely little paradox).

The taboo theme of incest fuels the dark storyline… The words and actions make you sick to your stomach (but in a good way!). Such a incredible piece of theatre, ticks all the boxes, and you will be on the edge of your seat throughout!

A man who’s footsteps you do not want to follow. A review on ‘A Man Standing’ by Théâtre de L’Ancre

This dark, dynamic performance had the audience gripped from the beginning. ‘A Standing Man’ is not your average ‘this-is-the true-story-of-a-man’s-life’ play. This show has one incredible element that raises the bar far above the rest: the man which this striking story is about, Jean-Marc Mahy, he is standing there… in front of you… in person… telling you himself the story of his unbearable imprisonment (Yeah, I know right… Pretty damn cool). Mahy speaks to you (in french) with this strong, powerful voice, and the emotional connection between himself and his past is so raw that his words land on you with great meaning. So much so that you find it hard to drag your eyes off him to read the subtitles behind him. 

Although Jean-Marc Mahy tells you his story… he is not an actor (that isn’t me being a meany.. He states it himself at the beginning, I promise). Stephane Pirard, a trained performer, takes the role of Jean-Marc Mahy, and physically plays out the isolation and abuse this man suffered for 20 years of his life. Whilst the real, living, breathing, surviving Mahy sits to one side, using only his words. (A genius sort-of inception).

 

This moving piece takes us through intense episodes of Mahy’s life, from his first lonely nights in solitary confinement, to his attempts to take his own life. Like I said, a seriously dark, honest account throughout.

And it all started with a robbery, an escape, shots being fired, and a ridiculously quick court case, which after 5 hours, the judge made a decision. A decision that would change this young man forever, but he will still be standing afterwards.  In fact, here he is, standing right in front of you. Living proof. 

This is an extremely intense performance, beautifully executed with honesty, and raw with emotion. Listening to this story will change your perspective on life, and you will appreciate your youth more than ever. 

Jean-Marc Mahy is making a much-needed impact on young people with his experience. One moment, one mistake can take away your life in an instant. Remember his footsteps, but never follow them. 

A show you would not want to miss…

We have all been stalked by the Walrus, right? A Review on ‘How (not) to live in Suburbia’ by Annie Siddons

To be completely honest I had no idea what to expect on entering this show. The poster shows a woman with heavy make-up, large gold hoop earrings, and bright messy hair… the works. She is holding an olive tree in each arm, and has a passive aggressive, slighty hopeless, expression on her face. What can I say? I was intrigued.  

This really was a captivating performance featuring one honest, hilarious, lonely woman; Annie Siddons, aka Siddz, and her drag (and sometimes drunk) alter ego, and an annoying walrus, both played by Adam Robertson. Siddons did a fabulous job when it comes to connecting with the audience. Her words were chosen with care and purpose. At times they made you laugh uncontrollably, and other times they made tears roll down your cheeks with the bitter truth of it all.

This production is an honest, yet hilarious, account of a middle aged single mother and her unwanted friend: loneliness. The mix of film and theatre was like a perfectly balanced vodka lemonade (and no I don’t mean a dash of lemonade and a pint of vodka, you crazy alcoholics). The vodka being the edgy snipers of film that flickered before us, a nice break from her continuous monologue (aka. fizzy lemonade).

On being unexpectedly moved to the suburbs of london (‘Zone 5!’ She moans) this totally urban woman finds herself at a lonely dead end. But her attempts to ‘fit in’ at this new place, ‘Twickenham: Home of Rubgy’, are hilarious, mainly because her efforts are useless and fail almost immediantly. For example, she attended ‘book club’ but was soon told that her sharing her opinions… in book club… about the book… is intimidating others because she’s a writer. As you can imagine her response was quite unique. She also attempted to take her Olive Trees (which symbolise her two young daughters) to a typical sing-a-long play group but the trip turns awkward fast, and Siddz is once again left deflated.

  

But just when you think her sea life friend, loneliness, might destroy her… she meets Jay. (And yes he is incredibly hot.)

Another short film plays, this one is where she sees Jay for the first time… in the park (More realistic then romantic, I guess). Jay is 15 years younger than her and he quickly becomes her toyboy… Literally… Right then… Right there… in the park… between the trees. But don’t panic! No nudity was shown just some harmless cleavage, and a pinch of passion. 

Annie’s nerves did show through a couple of times with some blank hesitations. This did hinder the professionalism of the piece, and it was slightly uncomfortable, BUT… it also added something raw and immediate. It enhanced her performance on a personal level, showing us she is human, and humans have emotions. We get nervous, and angry and lonely… So who am I to judge? Well, actually… I am an audience member that writes reviews, but nevermind that. 

This show shines a bright harsh white light on the reality for middle aged single mothers; the heartbreak, the hardships, and the wet walrus of loneliness… A figure I’m sure we all have crossed paths with. The respect we have for such women blossoms during the piece, as we laugh and cry along with her.

The words are something you must hear and the short films are something you must see… So what ya waitin for m8!

Your ‘Jew’ bestfriend. A review on ‘Bubble Schmeisis’ by Nick Cassenbaum

Here I am at the Edinburgh Fringe festival 2016, squeezing through crowds whilst flyers float around like confetti in the air. But aside from the thousands of walking tortoises… I mean tourists, and the pricey food, there is some absolute gems of theatre here. 

And one of them is held in the small ‘black box theatre’ (to be honest it was more of an aging lecture room) at Summerhall venue, and this diamond in the rough is: ‘Bubble Schmeisis’, written and performed by Nick Cassenbaum, and directed by Danny Braverman. 

As I waited outside in the calm open air, clutching my raincoat… just in case, I watched a bald, jolly man in a bath robe and Adidas sandles make his way down the queue, greeting everyone with a cheeky chappy smile. On entering the theatre I was greeted by some brilliant Klezmer music created by a clarinet and accordian (played by Dan Gouly and Josh Middleton) and I knew immediantly this would be a relaxed, personal and most definitely hilarious performance. I wasn’t wrong.

 This 27 year old Jewish man is heading to Canning Town Schvitz to have a ‘proper wash’ with his grandfather. As they head past streets of East London, familiar petrol stations, and football grounds we are taken on a detour to several tales from his Jewish childhood. For instance, the time his mother dropped him off for Jewish Summer camp and told him: ‘enjoy yourself, but do yourself a favour and get laid’ whilst slipping a condom into his pocket, his confusion when comparing his Putz (reproducing instrument) to other boys, and his hilarious father-son bonding trip to watch Tottenham which concluded with Nick not wanting to be a Yid.. A nice play on words for this Yiddish themed production. 

  

His journey to the Jewish baths was constantly littered with these entertaining flashbacks, and was all the while giving us an insight into the life of a Jew in East London. 

As an audience member I felt I knew these people he described, I could see them in front of me as he spoke: the true impact of great storytelling. Although, I was unsure of the deep breathing which occurred between scenes. Almost a chore which we had to complete in order to hear the rest of the story. But, in hindsight, it was a successful tactic in ensuring we had time to let the story’s sink in and was a repetitive symbol of the play moving on.

How does such a performance end? I hear you ask.. Well with an unlucky, yet willing audience member giving his hairy body a good old scrub and learning how to pronounce bagel correctly (it’s b-i-gal, not b-ay-gal.. Apparently). But on a serious note, the issues raised within ‘Bubble Schmeisis’ on ignorance, racism, and lack of culture were tastefully put across, and left a lasting aftertaste in our minds. 

Nick Cassenbaum really does become your ‘Jew’ Bestfriend, especially when he offers out free slices of orange as you leave. After all, it wouldn’t be a Schvitz without some fruit and a bit of nudity.

Most definitely a little gem in a rough lecture theatre.