London Archives - Page 80 of 107

But I’m A Cheerleader: The Musical – Turbine Theatre

3Mar

By Gemma PrinceNo Comments

London

But I’m A Cheerleader: The Musical – Turbine Theatre

Based on the 1999 cult comedy film starring Natasha Lyonne and drag icon Ru Paul which has become a queer classic, But I’m A Cheerleader: The Musical, written by Bill Augustin and Andrew Abrams, has been a decade in the making. The show marks the first brand-new musical to be staged at The Turbine Theatre in London. Directed by Tania Azevedo, the show tells the story of Megan (Alice Croft), the all-American high school cheerleader who seemingly has the perfect life with her jock boyfriend and loving parents until she is shipped off to True Directions, a gay conversion camp after they suspect she is a lesbian. Spearheaded by the strict camp leader Mary Brown (Tiffany Graves), Megan undergoes a five-step programme with the hope that it’ll banish her sexual urges when she unexpectedly meet...

3Mar

By Aditi DalalNo Comments

London

Boot – Lion & Unicorn

A bright red sofa, comfy carpet and warm amber lighting welcome the audience into Karen’s intimate living room. The first and only guest here is a visibly anxious Emma (Kate O'Rourke), touching up her dress and make-up to possibly hide her internal distress. Enter Karen (Eliza Williams). One nervous energy is met with another awkward one. As the story unfolds, the reason for this tension gets clearer (rather, more complex). The two old friends are (seemingly) meeting each other after a long time but as the story unfolds, we see how intertwined their lives have actually been and how much more consciously connected they are about to be. Dramaturgically, Jen Wooster plays with the different levels of awareness in the room. Karen has information that she is desperate to reveal; Emma knows n...

2Mar

By Alice RoseNo Comments

London

The Woods – Southwark Playhouse

David Mamet’s ‘The Woods’ has always been a topic of conversation in its fantastical and mythical approach to the question of heterosexual relationships, and with Southwark Playhouse’s revival it’s likely to continue to be. However, since being written in 1977, I’m not sure of the play’s relevance to today/ what we are questioning since the rapid change of thought regarding our classic male and female stereotypes. Mamet’s original question was to ask why male and female’s fail to get along and where our differences to natural desire to ‘nesting’ lies- in that classically males may dream of it but fear once it becomes reality and female’s may feel most at ease when their nest has settled. When watching, it’s very frustrating to see that not once is this couple on the same page and can fo...

Mimma: A musical of war and friendship – Cadogan Hall

2Mar

By Louise PennNo Comments

London

Mimma: A musical of war and friendship – Cadogan Hall

Playing for one-night only in a charity gala concert performance for the Prince’s Trust, Mimma is a story of personal sacrifice in war that seems glumly relevant in the current climate. Sadly, despite a 48-piece BBC Concert Orchestra and a starry cast led by Sir David Suchet, Celinde Schoenmaker, Louise Dearman, John Owen Jones, plus opera stars Ashley Riches and Elena Xanthoudakis, this show is uneven from the start and is neither musical, war drama, or opera. The opening scene set in July 1940 hints at conflict, but we then go back to 1938 and a Turin where the young Mimma (Schoenmaker, enigmatic) is at a family party. Her uncle and mother conspire to send her to safety in London, where Uncle Lorenzo (Jones, underused) has a café in Soho, as war fizzles on the horizon. Her uncle...

28Feb

By Julia PanovaNo Comments

London

God of Carnage – OSO Arts Centre

Children get themselves into a bucketload of trouble these days. Yet can we blame them? After all, their loving, nurturing, “responsible” parents seem to do even worse... “God of Carnage” follows Alain and Anette Reile and Veronique and Michel Vallon (two seemingly happy, married couples) as they meet to attempt resolving a scuffle between their sons. We watch as their demeanours fade from respectable and polite to reckless and crude to a point where the situation at hand is forgotten and replaced with, well to say the least: Carnage. As the train speeds along beside the Vallon home, one wonders if discussion will get back on track. I was personally enthralled by this adaptation performed at the OSO Arts Centre. The staging of this production perfectly complemented its naturalistic s...

25Feb

By Alice RoseNo Comments

London

The Collaboration – Young Vic

The thrill and danger of collaborating two differing artists is a risk. However, the result was intimate, powerful and devastating at times. You may never see the artist, only their work in which you project your own stories, but to see them firsthand on what inspires them to share such vulnerable images from their mind put onto a canvas, it’s a humbling experience. It’s without saying that this cast are masters at their craft. There was such a lack of ego between these actors, they gave themselves up completely to each other and it was almost quite terrifying how accurate the pair were to the artists. Jeremy Pope truly had snatched the breath out of everyone’s lungs in that theatre as he spins into whirlwinds of hysteria, too frightened to make a sound in case we were detrimental to hi...

24Feb

By Khushboo ShahNo Comments

London

Uncanny Valley – Battersea Arts Centre

Theatre has been pedestaled, historically, to create a sense of empathy within audiences. We identify with the players on stage. If the production is stirring enough, we end up following the performers’ breath patterns. But, what if the actor on stage is a robot? Would we still feel empathy? Would we still be able to release emotions or scramble for answers to explain our reality? Rimini Protokoll’s Uncanny Valley subverts the position of theatre and human existence by casting a lifelike animatronic model of Thomas Melle, the writer of The World at My Back. Conceived, written, and directed by Stefan Kaegi, Rimini Protocoll once again uses a novel and disruptive form to raise questions on human conditioning and its dependency on machines- “Are we human by our randomness?” Or are we just lik...

23Feb

By Riana HowarthNo Comments

London

Red Pitch – Bush Theatre

This is an electrifying piece of theatre with a strong sense of community at its core. From the moment you enter the performance space, it is buzzing as the boys bounce around the stage, preparing for a match. You are plunged into their territory from the get-go and feel drunk on their energy and enthusiasm. Omz, Joey and Bilal navigate their worlds of South London as 16-year-old boys at an exciting, pivotal point in their lives. The play is a testament to the strength of friendship and the trials and tribulations of youth as well as an exploration of gentrification from the differing perspectives of these young people. This outstanding play-writing debut by Tyrell Williams is a masterclass in comedy and authenticity. Williams truly captures the spirit of banterous teenage boys on the b...

21Feb

By Khushboo ShahNo Comments

London

Turtle – Hens and Chickens Theatre

Created at the intersection of stand-up comedy, spoken-word poetry, and theatre, Bróccán Tyzack-Carlin’s Turtle entertained the audience for an entire hour at a cozy and warm Hens and Chickens theatre. Bróccán’s energetic and zestful entrance gripped the audience right at the beginning and he successfully managed to keep them rolling in the aisles throughout the show. Without adhering strictly to one form, Bróccán boldly explored multiple genres of performance and spoke about all kinds of topics- his life in North-East England, his education at Durham University, sex toys, politics and statues, juxtaposing Marxism and Spice Girls, and his obsession with Tim Westwood and turtles. These explorations were supported by strong characterisations performed with distinct accents, felicitous ...

19Feb

By Caroline WorswickNo Comments

London

The Forest – Hampstead Theatre

French playwright Florian Zeller describes his plays as ‘little labyrinths in which we can get lost, and sometimes, find ourselves’. This play is a masterpiece by the writer, in which its cleverness holds your mind hostage so that it is cornered and coerced into exploring the avenues that the plot leads you down. Written in French, translator Christopher Hampton has interpreted Zeller’s nuances and according to Zeller, their collaboration comes from his deep respect for Hampton’s great sensitivity and precision. It is important to explain that the cleverness of this play is not only due to the writing, but the director Jonathan Kent’s interpretation of the writing, which encourages designer Anna Fleischle to create a three-set stage to enable the cast to play out this ...