Love and Money- Reboot Theatre @ Network Theatre, Waterloo

Love and Money by Dennis Kelly is a play that conveys modern day corruption, greed and the dichotomy of what connects us as humans the most. The play challenges the viewer to question what one's life is really about, and by the finale we all probably give in and realise that materialism is secondary to human needs. I think it is fair to say that everyone's morals are clearly out on the table for surgical dissection, and perhaps even the audience are torn between right and wrong until the end monologue where we have a chance to absorb what life really wants us to connect with the most. The protagonist David leads a complicated dual life as a high powered career man who craves love from a French lady Sandrine whom he meets on a business trip. David has suffered intensely during the course of his life after a series of unfolding events, including his wife's suicide, crippling debt and working unbelievably long hours in a soulless industry.

The play is a parallel of old and new, in that Love and Money continually takes us back to David's marriage with his wife, who was uncontrollably materialistic and then synchronises his present life searching for a relationship with Sandrine. Love and Money portrays every theme that modern day life loves to hate which includes temporal relationships based on fleeting encounters in so far as nothing has a permanent state of being, and also everyone's drive and continual search for success that equates with high monetary value. The cast enter as hungry corporates ready for another day's work in an individualist competitive society which firmly sets the scene about this journey of discovery that juxtaposes ruthless ambition with a deeper life meaning.

Michael Waller as David led an impeccably strong cast through a complicated and high energy driven piece. Waller successfully convinced us of his character's highly emotional and stressed existence at all times, and he took risks with his varying emotionally charged states. I was blown away by the physicality of his stress and anger, and in particular when he nose dived into a violent state of crushing the CD cases which really showed us his limits of being pushed to the edge. Waller's pacing on stage heightened moments of tension, and even when still one could feel the sheer toxicity of his anxiety and constant state of worry and preoccupation.  Waller's voice beautifully resonated quakes, trembles and poignant moments of reflection and care. Given his ever presence on stage, his variance in acting style and delivery was kept fresh throughout the piece.

Other cast members equally excelled in their performance, and a special note of credit due to Athena Bounti who convincingly embodied more than 3 versatile and distinctly different characters. Bounti grappled with varying accents and her broken franglais was superb. I thoroughly enjoyed Bounti's portrayal of Val as the corporate superbitch with a heart. In fact, the diverse casting of the actors was a key highlight for me and actually added a further layer of social and cultural intrigue of how we are all fundamentally the same as human beings. It was very refreshing to hear a multi-lingual cast perform rather than an all British cast. In regards to all cast performances, there were significant risks taken on stage and the performance didn't give the impression that it had been overly rehearsed as it still pertained a certain raw quality. Reboot Theatre thrives on the workshop element of their company, and this is evident from what I have seen in this production.


Next week: Frenemies by SEDOS @ The Bridewell Theatre, St.Paul's.

Top Girls @ The Actors Centre, Covent Garden

Impulse Theatre Company presents Top Girls by Caryl Churchill, the 1982 play about a career obsessive woman by the name of Marlene who comes from a troubled family background and has made it in business in the big smoke. The play examines toxic female friendships, women's attitude to success, men and love. Marlene has a troubled relationship with her sister who took on the role of adoptive mother to her child which is a top kept secret throughout the play.

Although the play was written in the 80s at the height of Thatcherite politics, Top Girls has an ever prevalent importance in today's dog eat dog society, particularly in city life. Top Girls is a thoroughly mixed play in that the first half concentrates on symbolising important female historical characters, that perhaps later go onto inspire Marlene's cut throat approach to life. Having never read the play, I found the first half didn't really connect or make sense to me until the very end when I was able to succinctly summarise the behaviours and activities within the piece, and also feel a connection to Marlene and a certain empathy when she delivered the emotionally charged conversation piece with her sister.

 The first scene opened with the intimidating dinner party setting where Marlene (Laurence Vaissiere) made her striking entrance with some indirect flirting with the waiter which signalled her seductive personality. The piece incorporated diverse casting which Impulse Theatre Company should be congratulated on, as the themes transcend all races, cultures and societies across all time frames. Each of the female invites to the party seemed completely averse to the traits of Marlene, in that superficially they seemed intelligent, weaker and unlike Marlene until we get invited into deeper and more intimate conversation with them as the evening strikes on and the wine just keeps flowing. The first half of the play is inspired on American feminists and historical women of importance including Pope Joan, the explorer Isabella Bird, Lady Nijo, and later a Buddhist nun. Each of the women displayed strong leadership characteristics and revealed their plight in life which almost gave the audience a hint of healthy realism and that these women are not super bitches for nothing- there is always reasoning behind a tough, strong woman and why she behaves aloof, superficial and even arrogant. Top Girls conveyed the sad and lonely journey of a lost and emotionally void character in Marlene, given her loveless family and disconnection or sense of belonging to a family unit.

Emotionally, the piece was very fluid as at the beginning no-one could make sense of the action or behaviours of Marlene in particular who gave us that initial impression that she was a hated woman, and we would not change our opinion of her. The play is very real as we all possess that toxic relationship with friends, partners, colleagues or even family and there is no obvious explanation as to why we can't cut the emotional cords. Towards the end of the piece, I did shred a tear or two for Marlene as I related to her insecurity, hunger for success but more importantly desire to be loved and of course love something or someone. Her relationship with her niece (real biological daughter) didn't ever hit the real depths of dysfunctionality, as this could have been a play on it's own to examine the relationship between mother, sister and daughter.

The actors portrayed an unconventional play with their own style, and didn't necessarily stick to the rules which was only to be expected. The positive effect of Top Girls is that is has no rules and can be re-directed in many different fashions given it's non-linear style frame. Impulse Theatre Company is a well established acting company, based in London and Paris (given it's French casting) which focuses on truth and characterisation which are firmly embedded in the teaching style of this acting school. I think Top Girls was an apt choice for the company as each actor was able to grapple with complex emotions, multi-characters and of course convincing the audience that they were on the connected journey for these complex characters who were multi-faceted in nature. The staging was intimate which signalled the need to be close but also on the outside of the action, as each character was closely and carefully dissected for their toxicity and real self.

Top Girls is playing @ The Actors Centre, Covent Garden until Saturday 6 August.

Tonight: Love and Money @ Network Theatre, Waterloo.

London Road by SEDOS @ Bridewell Theatre, St.Paul's.

London Road tells the story of the atrocious serial murder killings of five women in Ipswich in 2006, which was well documented on national and even international news reportages. London Road is a typical residential British street that was subject to media frenzy and big brother intrusion following one of the biggest crime plots since Jack the Ripper savaged the Yorkshire community. The production documented the pre and post lives of one of Britain's most famed streets, including the trial and condemning of the guilty party, Steve Wright, the occupant of number 79.

SEDOS presented a dark plot with light and musical harmony that far outweighed my expectations with a talented cast and crew, given the major technicalities of the production which included live reporting and video camera devices on stage. London Road began with an introduction to community life, in village council meeting setting in a church hall with your archetypal 'do gooders' and noisy neighbour brigade. The production had a raw quality about it, and each and every character was natural and overtly appealing to the audience with their real approach. Vocally, the actors didn't have superb singing voices, but the action and realness of London Road almost made one forget it was a musical production as the action and stage settings detracted from the vocals of the cast.

What was so refreshing about London Road was that the actors presented real characters that one meets everyday in British society, and there was no overacting as everyone naturally fitted their parts. Each character was an accurate cross-section of society, from retired couples, to middle aged couples and then young teenagers who all portrayed varying attitudes of fear to indifference on the events. Despite the tragedy of the London Road events, the musical and indeed these 'everyday people' manage to build a community and still trust each of their neighbours implicitly as one got the impression at the various Christmas parties and garden fetes, that nothing had really changed following the sombre events of 2006. The lightheartedness of the Christmas party and garden fetes were a celebration of continuing life, and even the audience felt part of these events. I am sure each of the audience members could relate to each of the characters in this play as we are all interconnected with these people through voluntary work, careers or even leisure activities.

The visuality of the production was the key highlight for me as a viewer, in the fact that minimal stage changes were needed in order to represent the location of the setting. In essence, the back wall projection of the residential street pretty much remained as the back drop throughout. One could be transported from a neighbour's living room to a café, and then to a village hall meeting. All of the scene changes were rhythmically timed and prompt scene changes occurred, which all naturally followed on from one another in a logical sequence. Particularly strong scenes that included noticeable mood changes on stage included the police taping of the street, where one could really get a sense of how these people's lives were disrupted from everyday routine activity. Emotionally, one could physically sense the claustrophobia of living in the nanny state at this point. Visually, this scene was the most powerful and had the most effect on the audience who felt as if the community was trapped and could not escape the horrific tale. The news reporting and the trial scenes were also visually enthralling as they were well conveyed and all contributed to the build up of the guilty sentencing climax. Overall, both act 1 and 2 were as equally strong and effective at keeping the audience concentration as all was focused on the 'who dunnit' clause.

London Road is playing at the Bridewell until 6 August.

http://www.sedos.co.uk/2016/londonroad.htm

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