Hugh and Jean live in a stylish neighbourhood, in a stylish house, with a fabulous kitchen, complete with all the latest appliances. The only thing it lacks is food. When Hugh meets a street vendor who sells the types of food his mother used to make when he was young, he begins to realise what he is missing. Jean can cook but won’t. She is too busy landing the biggest deal of her career for an American Tobacco company that has chosen Trinidad as the proving ground for its latest product. Tired of Chicken and Chips every night, Hugh tells Jean he wants a cook for his birthday, one that can cook all the foods he used to eat as a boy. After an exhaustive search, they finally employ Elsa (Davinia Anderson) the grand-daughter of the street vendor, who’s skills (in the kitchen) delight Hugh, but provide Jean with an altogether different set of issues to worry about. A series of events ensues that lead to a somewhat tragic end for all concerned, but one in which questions of identity, for some at least, are partially resolved.

The play is set exclusively in the kitchen of the couple, and we are treated to a series of encounters as they pass each other on a daily basis. There are plenty of metaphors in this piece. Noticeably, the kitchen is spotless with everything in its place at the beginning of the piece. Throughout the play however, we see the state of the kitchen get progressively worse, as the couple’s relationship deteriorates. Likewise Hugh and Jean compliment each other when they are both operating from the same ‘progressive’ script however, as Hugh ‘regresses’ to a more traditional viewpoint, we begin to see how a relationship can quickly deteriorate.

Meetings is performed in two halves. In my opinion, the first half of the play lacked the impact and dynamism both in dialog and performance that the second achieved. I must admit that I found the continued to-ing and fro-ing from kitchen to door and back again for the variety of meals a little tedious after it was done for the third time. Wright delivered a strong performance as the morally-challenged wife, but I was disappointed with the performance from La Barrie which lacked the same level of intensity and belief in the character he portrayed. Another missing element, (though I suspect Health and Safety concerns may have been the reason) was cooking smells. I would have liked to have more of my senses challenged with this piece, although Hugh’s frequent exclamations of ‘GOOD!’ as he ate the food Elsa prepared for him, finally convinced me that the “’ol food” was indeed good food.

Meetings provides an insight into the clash between old and new, progress and tradition. Was Matura alerting us to a calamitous end if these two opposites cannot reach a compromise?, perhaps. You may decide that the piece does not stand up to contemporary issues on identity and I am not sure that it does. However it does at least challenge pre-conceptions of a region of the world that is continually associated with traditional lifestyles and may change your outlook.

Meetings continues at the Arcola Theatre until October 20th 2007, with a Matinee performance on Sat 20 October at 3pm and post show discussions on the10th and 17th. In addition there are Sign language interpreted performances on the 8th and 15th October.

http://www.arcolatheatre.com

This review was written for Extra Extra.

“I’ll give you five pounds to take her away, and £20 not to bring her back”, joked Wood’s dad when she was eight years old. She went to school at the local hospital. When she was 18 she went to live in an old people’s home. You want to laugh, and you do, because Wood’s delivery, passion and emotion is all that you experience on the stage at the New End Theatre in the current run of her one woman show Rolling With Laughter.

Wood relives childhood memories of working on her parents market stall, the college years, where she met and fell in love with her husband, her work that took her all over the country and abroad. Throughout, the autobiographical tales, Wood leaves no room for doubt about the reduced autonomy she faces every day due to her disability. However, what is also clear is that she does not let it stop her from pursuing her life goals, chatting up fit blokes, or dealing with one of any number of life problems faced by a woman trying to live in the 21st century. I thought the performance was captivating and fresh. The script is sharp, wry in places, deeply emotional in others.

The production itself was minimal. Sound and lighting offered subtle changes in mood, flow and circumstance. The stage was dressed simply with a table leaving room for Wood to roll, spin and dance the full length and breadth of it.

Rolling with Laughter continues at the New End Theatre until October 21st 2007.

Written by Natasha Wood and Beverly Saunders
Directed by Cameron Watson

This review was written for Extra Extra.

The story concerns Sir Claude Mulhammer admirably played, at short notice, by Martin Bishop, who is attempting to smuggle his illegitimate son Colby Simkins (Anthony Wilks) into his household under the guise of a replacement for his Confidential Clerk who’s retirement, ‘on medical grounds’ is imminent. The wise and diplomatic Eggerson (David Barnaby) is part of the ruse as is Simkins. All three conspire to get Mulhammer’s wife, the Lady Elizabeth (Tamara Ustinov) to like Simkins enough so that eventually, she will agree to adopt him as her own son. Throw in an assortment of orphans and an aunt of quite dour demeanour and some surprise revelations, twists and turns and you have the makings of a modern-ish day Greek tragedy.

Ustinov impressed as the absent minded Lady Elizabeth and the part of Lucasta Angel, played by Antonina Lewis was also very strong. The small cast of seven gel well to present this piece in humorous and entertaining way.

They play is read in three acts, and is fully costumed, but with minimal staging and props. The space at the Finborough Theatre is intimate and the actors do well to manoeuvre the space without detracting too much from the performance itself. The Confidential Clerk is being performed for the next three weeks on Sunday and Monday evenings and is recommended as a light-hearted tonic to a heavy weekend or to ease you into your week.

• Directed by Tom Littler
• Designed by Pip Swindall
• Lighting by Christopher Nairne
• Associate Director: Catherine Paskell
• Cast: David Barnaby, Martin Bishop, Freddie Huntington, Antonina Lewis, Judy Norman, Tamara Ustinov and Anthony Wilks.

Lizzie accepts the offer of a job as a scullery maid, in the Great House of a rich Northern Family. Under the guidance from the local minister, she begins to work her way up the ladder and establishes a place for herself within the household. At the house she meets and eventually falls in love with Will (Craig Gazey), the boot black who is involved in the Chartist movement. Lizzie is reluctant to take on board their message however, preferring to keep her head down and out of trouble, fearing that involvement in such a contentious cause could jeopardise the position she has garnered for herself. Misfortune strikes the couple, when in a fit of jealousy, Will murders the minister who has also fallen in love with Lizzie. So begins another chapter which leads the pair into an accidental but important role within the Chartist movement across the country. Meanwhile the movement itself is reaching a point of divergence, on one side is William Lovatt (Peter Hamilton Dyer), and others like him, who try to steer a political path towards change, on the other, characters such as Fergus O’Conner (Jonathon Moore) wish to chart a more radical and violent one.

Historical figures including Friedrich Engels (Nicholas Shaw) and American Ira Aldridge (Christopher Obi), both of whom have utter or penned volumes on the condition of the English working classes at that time in history and the inclusion of historical events help us to contextualise the period in which this play is set.

There may be a temptation at times to compare or contrast the conditions and the mood of the times with that which we experience today. It is through knowledge of these movements that we may gain an understanding of the sacrifices that were made by some people in order that we may ‘enjoy’ the systems of democracy that we have inherited. Indeed within the setting of the Globe, and the manner in which Shepherd and director Mark Rosenblatt, place the players and the action amongst the audience, there is a level of engagement that brings the experience and thus the times even closer.

Although some scenes and characters seem superfluous, and didn’t add to the overall progression of either storyline. this did not spoil the overall impression or enjoyment of the piece. Holding Fire! continues until October 5th .

He periodically attempts to connect to the outside world via calls to people he does not know, their names gleaned from a phone directory, but his connections are never completed. The man seemingly controls access to the room by keeping the doorknob in his pocket, but this room is not impenetrable. It is invaded by a maelstrom of intrusions into the space, some welcome, others unpleasant, all fragmented.

The mix of choreography, physicality and sound in this Chotto Ookii production combine well to produce an intriguing piece of Total Theatre. The play runs for an hour, which in my opinion is just about right. The choreography is imaginative and the way in which the production explores the complex nature of long term relationships was innovative.

The portrayal of the cleaning (or hoover) obsessed wife, by Kathleen Yore is warm and sympathetic, despite her vulgar appearance and mannerisms.

The intricate nature of the performance compels you to give it your full attention. You may find there are moments of emotional turmoil as you watch the unravelling of this man’s mind, And Even My Goldfish deserves it’s accolades.

Chotto Ookii - And Even My Goldfish 1 – 3 June 2007 - Camden Peoples Theatre

• Lighting: Charlotte Stanley
• Sound: Will Bartlett

This review was done for Extra Extra

I saw “Thriller Live” a couple of weeks ago at Croydon’s Fairfield Halls and revisited it on Thursday at the famous Apollo in Hammersmith. Whilst I was pleased to find a more polished version of the show this time around, it falls sadly short of it’s promise.

I was happy that the producers had dispensed with the awful video commentary of Tito Jackson which added nothing to the overall performance. Michael Jackson’s music is full of feeling and energy, unfortunately the live band, who played the notes competently, sadly lacked the feeling required to convey the energy that lies within the music.

Portions of the show are very good, Shaheen Jarfarghloi and Dominic Smith who sing as young Michael, throw down on, I Want You Back, ABC and Who’s Lovin’ You. The Smooth Criminal dance number is electric and you’re transfixed, but all too often the performances lacked energy. With the exception of the strong vocals of Zoe Birkett and the warm harmonies of the gospel choir on, the vocal performances were weak. The finale, the one we were all waiting for, was an abysmal anti-climax with E’Casanova failing to deliver even a third of the song, much prefering to show off his mooon walking skills.

I felt that the show lacked a true identity. It didn’t really know whether it wanted to merely replicate the vocals and choreography of MJ’s live and video performances or truly celebrate the music with a fitting tribute garnered from performers at the top of their game. This show has such great potential. Unless you are a die hard fan, you forget that Michael’s back catalog is truly amazing. The show serves to remind you of this by stimulating your memories, but sadly unless they improve on the quality of the delivery, you may leave it feeling disappointed.

Winner of numerous film festival awards this is a poignant piece of work that takes the viewer on a journey through history to the present day realities of the African diaspora. Director Owen ‘Alik Shahadah and writer M.K. Asante Jr have created a film that speaks with an African voice.

500 Years Later helps you to understand why things are the way they are. It features comment and reflections by people such as Paul Robeson Jr, Dr Francis Cress Wesling, Hakim Adi, Nelson George and many more who seek to challenge the received wisdom of the condition of people of African heritage across the globe. Filmed across 5 continents, the film tackles subjects from Racism, Identity, Education, Reparations, whilst also presenting ideas for change and self determination.

The value in this work is that it provides many perspectives from many different types of Africans. The voices and people you see in this film are representatives from Africa, America, the Carribean and Europe. In each case it is clear that all have similar experiences and the global nature of the problems of people of the African diaspora are very clearly articulated.

This review first appeared on Bambooo.co.uk October 2006

The house belongs to Paul (Laurence Mitchell) a middle class teacher who arrives home to find the party in full swing. He encounters Jase (Paul Stocker) a working class lad who seems unsure of his sexuality. Jase is at the party with his childhood friend, but you are not really sure why he is there, especially as he continually spurns the advances made towards him by Greg (Simon Cole), a well known, but closeted actor, up from London for a bit of fun.

The arrival of Lee (Matt Firth) and finally Tony (Andrew Grose), Paul’s boyfriend sparks the beginning of a series of conflicts between the players and completes the crew around whom the events of the weekend center.

What follows is a fast paced, engaging story of deceit, desire and betrayal. Fuelled by a diet of beer, cocaine, ecstasy and K, inhibitions are eroded, partners are discarded and new ones solicited. You may find yourself building allegiances with a character one minute only to discard them the next. As the first act builds, Dandridge propels you towards a situation, that whilst terrible, is inevitable.

The entire cast of this launch production for Iron Hoof, gave a stellar performance, with stand out credits to Matt Firth, who plays working class Lee. Also worthy of mention is Simon Cole, who portrayed the ’smarmy’ and closeted actor Greg. I thought the rhythm of the dialogue in this piece helped to convey the ebb and flow of the relationships in this play. Slowing down as characters interacted with each other on a level deep below the surface of the ’scene’, speeding up as they returned to the shallows.

Twisted is well written, with convincing performances by the five cast members who command your attention. It is a strong, and uncompromising play. A morality tale if you will, but it is unlikely that you will leave the theatre feeling in any way superior to the characters you have just seen.

Twisted by David Dandridge

• Tuesday - Saturday,
• Wednesday 18th April 2007 - Saturday 5th May 2007
• 7.45PM
• Tickets £12; Concessions £6
• Iron Hoof Productions
• Oval House Theatre, London
• Director: Tim Stark
• Design: Jeremy Daker
• Lighting: Geraint Pughe

Having no prior knowledge of the Ali Smith novel, this performance would be my first introduction to the five female characters. The play takes us through a series of encounters between these five women. that is grounded within the walls of the Globe Hotel. Sara is dead, she died in a fall down the dumb-waiter. Her sister Clare is obsessed with finding out how she died. Lise is the receptionist at the hotel who offers a room for the night to Else, a homeless person who begs outside the entrance to this lush hotel. Penny is a journalist who is staying in the room opposite the scene of Sara’s demise.

Though you may not grasp the intentions and connections between these women, in the initial part of this piece, the interesting and circular nature of the dialogue and scenes reveal the story in a manner that engages you in a feeling of discovery. Slowly, the meaning behind some of the earlier scenes which, at the time, may have seemed somewhat disjointed, begin to become clear. I liked the way the major themes - of love, life, the importance of time - are gently realized and not force fed.

The set, designed by Becky Hurst, is minimal and I particularly liked the way in which the portions of it were re-used, especially the 6 brightly coloured 10ft rectangles that act as portals, giving both audience and cast an insight into other dimensions usually hidden from us. The minimal nature of the set helps the audience to focus on the dialogue and character interactions on stage. Unlike some productions, where changes are noisy and cumbersome, and can act as distractions, the re use of the backdrops and main stage props was integral, in my opinion, to re-enforcing the circular theme and nature of the story.

In a performance by the cast of seven, this play directed by Lucy Cuthbertson, showing at the Greenwich Theatre and due this year to play at the Edinburgh Fringe Festival, is clever, and engaging. The troop of young actors confidently deliver in a manner that has their audience captivated and engaged. Particularly strong performances were given by Leonie Sheridan, who plays Penny and Holly Cook who plays Else. Overall this was a thoroughly enjoyable performance.

Hotel World

• Greenwich Theatre
• Box Office: 020 8858 7755
• Genre: Play
• Subgenre: Drama
• Age suitability: General
• Author: Adapted from the novel by Ali Smith;
• Director: Lucy Cuthbertson;
• Producer: Kidbrooke School in association with Greenwich Theatre;
• Opening night: 28 March 2007
• Closing: 31 March 2007
• Times: 19:30, Mat Sat 14:30

In 1993, the killing of four police officers by a single druglord sparks the massacre or 21 residents of Vigario Geral by Rio’s millitary police. The event triggers a profound change in Sa, whose brother was one of those murdered. He chooses to abandon his outlaw status in favour of one in which his energy is focussed on improving life and prospects within his community.

The ensuing social programme develops into Grupo Cultural AfroReggae a force for change in a society in which children asked ‘what do you want to be when you grow up?’ reply, ‘An Outlaw’.

The footage (filmed using digital rather than film cameras) intersplices archival and news footage and gives us insight into the conditions, residents of the Favelas endure as part of their daily lives. It is at times harrowing and gruesome. A world away from the glamour and glitz of Cococabana beach.

Anyone familiar with Brazilian percussive music will be thrilled at the soundtrack that moves the film along. The director’s use music to convey the highs and the lows that permeate the footage, at one point you are hauled out of dispair, lulled into joy and thrust back into fear for the soul of a movement trying to promote a different outcome for the thousands of Favela occupants.

Favela Rising serves as a reminder that many young people with no hope will attempt to fill the void with anything that remotely resembles a better life, if only in the short term. However, for me the central message in this film was one in which a single individual committed, can make a difference. You heart will ache when you witness the deprivation, the death and the violence that permeates the lives of the people who inhabit the slums, but you will feel lifted when you recognise that hope of a better life, through art, culture and creativity prevails. Highly recommended viewing.

Favela Rising, 2005

• Type: Documentary
• Director(s): Jeff Zimbalist and Matt Mochary
• Credits: Anderson Sa, Jose Junior
• Runtime: 80 min
• Language: Portuguese/English Subtitles
• Certification: 12A

External Links

These links will open in a new window.

• AfroReggae site
• Favela Rising official site
• Brazil: Candelária and Vigário Geral 10 years on

I wrote this review on 23rd December 2006 and it appeared first on Bambooo.co.uk but it got me a job as a volunteer reviewer for a Theatre Review website so I’ve decided to put it here as well