Olu- Pleasance, Islington

Olu written by Ese Ighorae  is a tale about cultural belonging, power struggles and the strive for a more prosperous life in western society. The stage was graced with colourful, dominant African characters, fancy vibrant colours and fantastic choreography. In truth, it is the first piece of black theatre that I have seen and living amongst this ethnic group in South London was an apt fit for a peak into community life.

Olu tells the story of a young Nigerian girl who has experienced life in a Nigerian boarding school, and then has to re-integrate back into African life, awash with such trouble and strife. Olu feels disconnected to her homeland, her parents and tries to rebel against old school values that she feels now are an alien concept to her.

The production will have struck a chord with many international students who decamp from overseas and re-root themselves into a foreign education system, without any depth of knowledge on the culture, language or social etiquette. Olu conveyed a young naïve girl’s journey trying to fit into the Nigerian in crowd, whilst also trying desperately to seek her parents approval. The accents excelled with accents, and cultural physicality. Olu’s mother played by Miranda Shamiso adopted multi character parts including student, dancer, and many more with great conviction. The beginning was a light comic reference to a rebellious teenager who stamps her feet when she doesn't get her own way, whilst the second half of the production focused more on systems of power, and corruption which varied between subtle hints of wannabe powers and actual powers that by that destroy communities. 

The play seemed to last a lot more than the advertised 70 minutes, and there was a clear difference in rhythm and energy between the two parts of the production. The first half was significantly more engaging than the second, as when events turned more political and heavy, I must admit I did start to turn off slightly. There was certainly a tale to be told from each character, whether it was a student, teacher, parent or the school caretaker. Ighorae managed to script a play of grand importance, and reveal themes that are all too close to one’s heart in today’s political climate. Ighorae brought out clear strength of character in her female roles, perhaps signalling the need for a more inclusive and equal society. 

Olu brought fresh truths out of the piece, and the political relevance was perhaps the most significant theme that resonated throughout which was strengthened by unhealthy doses of  patriarchy and power conveyed through Olu's father. Whilst I am not well versed on Nigerian culture, the very fact that is was told through the eyes of African actors was a home truth in its own right.

Next week: I will be on holiday 3-17 July.

The Taming of the Shrew @ The Globe

Following the finale of my Shakespeare course last Wednesday, I thought it was about time that I went off to the Globe as it was getting rather embarrasing that I was the only class member who had yet to stand in the open air pith and get legless for a fiver. The Globe have produced an all Irish themed version of Taming of the Shrew which was a treat for all, and largely based on the 1916 Easter rising of Ireland. The choir set the lyrical scene and got the audience ready for their Irish jigging, and infamous party scenes with their high energy. Taming of the Shrew is the famous tale of sibling rivalry between Bianca and Katherina who are both competing for the affections of their father, as well as their future spouse. Katherina is well viewed as the headstrong rebel who knows her own mind and heart, and who finally subordinates herself to becoming the wife of ruling Petruchio. Bianca is the younger sibling who is as good as gold, and honours her fathers every wish. Director Caroline Byrne produces a diverse and mixed gender cast, and very much plays an old classic to a very modern audience. Aoife Duffin as Katherina embraced a strong vocal start with some Irish singing which soon turned into the painful embodiment of her future journey throughout the performance. Each of the actors brought realism, heartache and comic interludes to each one of their characters. The Globe is well known for actors entering through the public crowds, and this element gave a more cohesive feel to the production, particularly when the whole floor opened for a party at the wedding scene.

The play is well noted for its misogyny and feminist tones, and Katherina's (Aoife Duffin) scene when she is being dressed for her wedding day was a powerful embolism of the liberty that she feels is being revoked from her. The physical acting of Duffin was sublime, as the strings to her corset were being pulled ever tighter, the audience witnessed the restriction of her character and felt the pain of her being controlled. Even the costume design itself signified the chains of her freedom, and resistence to being married. Petruchio's (Edward MacLiam) entrance was comically timed, and the physical encounters between Duffin and MacLiam were impeccably choreographed. Duffin had magical facial expressions of disgust, empathy and indifference all rolled into one and always managed to make the audience hate her one minute and feel compassion the next. The wedding day was jestful, and made the audience feel at one and the actor's discussions off stage about the event sealed the gelled integration of the characters and the public.

The douleur of Duffin's voice brought vivid imagery and supposed tyranny in terms of the socioeconomic and political context of the piece. Shakespeare has this magical quality of writing plays that can be adapted to any plight or strife which can be transformed to transcend a 21st century interpretation. Following the first half of high energy, laughter and ridicule, the second half adopted a slightly slower and more melancholic twist which focused on the strife of marriage and woes of Katherina and watching her transform into a more pliable and obedient spouse to Petruchio. Duffin managed to portray this swift in Katherina's behaviour rather subtly but noticeably through the physical degradation of a well kept woman.

Next week: Monday 27 June 'Olu' @ The Pleasance, Islington.

Apocalypse @ Network Theatre, Waterloo

Last night, I ventured into one of my favourite hidden gem theatre venues in the capital, Network theatre, based just under Waterloo station. It is well tucked out of view, and those in the know are always in for a treat at this performance venue with its authentic and raw feel about it. Those who follow London's non west end treats should have Network bookmarked on their smart phones.

On the surface, Apocalypse appears like a cheesy musical romcom of absurd random events and unexplained characters on stage who we don't really know what their purpose is. Apocalypse the musical is a life tale of good versus bad coming of the end of the world and survival of the fittest.
The production transcends all types of characters such as nuns, whores, cows and a typical do gooder Charlie the milkman who the audience falls in love with at first sight and maintains that impression and performance throughout. Given the rawness of this production, one can clearly see the fringe quality and attraction for a bizarre and eccentric piece that would thrive on the Edinburgh scene.

The cows and their 'udder dance' proved to be comical and cheap entertainment that enthralled the audience and was the lighter touch to a life versus death debate. The piece was well interspersed with random themes and encounters, that it almost made the key components and messages of the piece more difficult to fathom. It was almost a moment of if someone asked me what this show was about, had I not researched reviews or read the programme, I would have been severely perplexed.

The typical theme that runs throughout is who would God choose and who would sit on Satan's side. God chooses Charlie the milkman who tries to spread the love or milk, however one would rank his milk of human kindness. Charlie encounters Natalie, the whore who sprinkles an injection of temptation and lucrative seduction into his life and almost gives him an appetite for the opposing dangerous side.

In terms of performance, vocally there was no-one who I could really pinpoint as standing out in the singing stakes. It almost feels like it is a cheap critique to be harsh on the vocals, when the cast excelled in physicality, characterisation and overall continuously omnipresence on the stage. Overall, I enjoyed the nun chorus sing-a-longs and felt the power of the group almost made up for individual solo pieces. No-one could fault the energy of the piece, especially the hilarious interludes of Tristan Varela who was by far a sterling performer from start to finish.

Next week: Monday 20 June: Taming of the shrew @ The Globe.

Love n Stuff @ Stratford East

 

Dreams, destiny and high flung flights of fancy were all lived out in Love n Stuff, an unconventionally staged musical that wasn’t all happy clappy love and forever after with the bickering Bindi (Rina Fatania) and Mansoor (Nicholas Khan).  This was my first outing to Stratford theatre east, an all too handy end of Jubilee jaunt being a stone’s throw away that it will probably become my local South London haunt. Whilst the production seemed thin on the ground in terms of its sugar coated love struck appeal, Love n Stuff was actually a jam packed performance embedded in identity and cultural integration that heavily resonates in a multicultural metropolis like London. My initial expectations were low when I purchased my ticket in that I needed a comic pick me up on a drunken Friday night, and that was as far as my hopes went. I must admit I was pleasantly surprised with the impeccable dissection of Indian humour and a better understanding of how this community forms a significant part of British life.  Love n Stuff isn’t usual my typical type of show to pay to see out of choice, but I am glad I gave it a fair viewing. In terms of show time, it lasted around the right length of time, as any longer and it would have ran out of steam.

 

We begin at Heathrow airport with a lost soul Mansoor (Nicholas Khan) desperate to leave crowded and soulless London for his homeland, sun soaked Delhi where he believes lies a perfect life. The set serves as numerous locations with minimal effort and the strategically placed seating lounge serves as a living room and car without even going anywhere and without too much fanfare. Love n Stuff could have easily been a very static and repetitive yawner, but thanks to the invigorating energy thrust up by Fatania and Khan, Love n Stuff didn’t run out of magic ingredients. One scene succinctly merged into another, and the timing of stage exits and entrances to merge these shifts were impeccable and right on cue. Some of the acts were a tad non sensical and could be classed as a tad over the top, as Khan and Fatania embodied more than 20 characters in one performance without an interval, all intertwined with Glaswegian, RP and Indian accents. The physicality of Khan throughout the show was accurately in line with his re-enactment of his characters, as I was very heavily convinced that he was genuinely Indian with his spot on vowels.

 

Whilst the show as a whole was entertaining, it was quite infantile and ridiculous in places and as a result alienated its audience. Any production that focuses heavily on eccentricity and unique humour is a risk, and this served a mixed reception from its audience. The character hopping was almost overwhelming in parts, and one couldn’t necessarily feel the connection to its relevance. What the actors convincingly portrayed was a long suffering relationship stuck in a rut and a desire for change and uprootedness. The over ambitions of the direction within this show outweighed what it was actually able to deliver. I think it could have been more simplified and stuck to a more focused context, rather than being a tad too convoluted and introducing an over abundance of themes and characters. On the plus side, any show that attempts to deliver a wide variety of themes and characters with a limited cast and stage devices does indeed deserve a stealth of credit in its right.

 

Next week: Thursday 16 June @ Network Theatre, Waterloo to see Apocalypse the musical