Real Person Fiction – Review

Real Person Fiction

Living Robot Theatre Company

Exeter Phoenix 

A Review by Carmen Paddock

Living Robot Theatre Company, founded by Exeter University graduates Harry Kingscott and Emily Holyoke, launched its first production this week at the Exeter Phoenix. Directed by Kingscott and written by Holyoke, this two person play followed two people whose lives are invaded by internet fandom. Jen has just broke up with her boyfriend Will – a star of a popular TV series – but the news has not gone public yet. Will’s co-star Eli shows up at her flat to try to convince her to give Will a second chance. Meanwhile, fan forums explode with vitriol towards Jen for ‘ruining’ Will’s and Eli’s perceived ‘romance’. This visit is the last thing she wants, and the next fifty minutes follow her attempts to get explanations out of Eli and their growing mutual understanding.

Although Will (played by Aaron Turner) made a brief voicemail appearance, the entire show was carried by Chelsea Marie and Stuart Cottrell as Jen and Eli. The two actors showed a nice range in their performances, alternating between a fierce and furious pace and reflective, emotional moments, lending a believability to their characters. Marie captured Jen’s irritation and distress at the insistent Twitter abuse with grace and desperation, and Cottrell (another Exeter graduate) initially came across as a flippant, devil-may-care Eli before revealing a deep, pensive side. The plot, while understated and realistic, was suitably engaging and gripping to keep the audience guessing at every turn. It was well supported by a smart, snappy script with beautiful touches of poignancy – a strong, promising work that was delightfully disconcerting.

The Phoenix’s black box, while not ornate, was an excellent venue for the intimate piece. The seating was especially clever – seats lined either side with Jen’s living room in the middle. The ‘fly on the wall’ feeling as the audience looked in on the intensely private scene unfolding was very effective and made it seem like we were privy to the most dear secrets. The set and tech were basic but convincingly realistic; the sounds of phones vibrating and the favourite cell ringtones instantly recognisable, and the furnishings seemed straight out of a young adult’s flat.

Real Person Fiction runs until the 5th of December at the Phoenix and then again at the Bike Shed in January as part of From Devon With Love. With such an intelligent, engaging, well-acted, and excellently designed piece of theatre, one hopes that Living Robot has a future beyond the South West.

engaging, well-acted, and excellently designed piece of theatre, one hopes that Living Robot has a future beyond the South West.

A review from Berlin

Cabaret (seen 05/08/2014)

Tipi am Kamzleramt, Berlin

A Review by Carmen Paddock 

Nestled in Berlin’s immense public park, the Tiergarten, is Tipi am Kamzleramt, an intimate, glamorous theatre adorned with red velvet and crystal. The shows performed there are a throwback to the famed Weimar Republic days of the 1920s, when Germany’s capital was hotbed of liberal, experimental, avant-garde performance.

Their 2014 summer production of the classic musical Cabaret was a double homage to this era of theatre, as its plot not only brought pre-war Berlin to life but its was performed in the traditional style. For instance, the audience sat at small circular tables scattered around in front of the stage and could order drinks and snacks throughout the performance. The on-stage action, costumes, and set were loud, colourful, and larger-than-life. Additionally, performers and the live band did not confine themselves to the stage and regularly spilled out into the audience’s space – at intermission a mini dance revue and music parade took place between the tables. This was often to the viewer’s mixed discomfort and delight, as the show was far from tame. Raunchy and racy were the words of the day, and if a lewd joke could be made or an obscene gesture thrown, it was not missed. This was not a show for the easily offended.

Cabaret’s powerful effect, however, was far greater than sequins and shocking behaviour. From the famous ‘Wilkommen’ to the final spotlight’s fade to black, the sharp choreography, gutsy performers, and seamless scene transitions enthralled throughout the entire three-hour run time. Continuing the inclusive theme mentioned above, the lighting and sound design incorporated the audience’s space, heightening immersion and involvement in this delightfully decadent, debauched, and dangerous world. Every element of the play was attacked full-on, from bold and bawdy dance hall numbers to the central love story to the growing Nazi shadow (a very interesting phenomenon in a German theatre, as the audience sit silently as swastikas slowly appeared on backdrops and uniforms).

While very hard to pick the best performers from an impeccable cast, the Master of Ceremonies and Sally Bowles carry the show, and the actors playing both deserve much credit for this feat. The former’s detachment, debauchery, and doubling in small roles (such as the cocktail waiter and rail ticket inspector) gave the illusion that was simultaneously the soul of 1920s Berlin and yet removed from the madness of the time. The starring showgirl had a rich, earthy voice and convincingly conveyed a devil-may-care attitude on stage with serious self-doubts and an inner fragility when confronted with love and its consequences. ‘Mein Herr’ deliciously, sinfully, raucously celebrated a life of freedom, but when Sally chose that life of freedom the effect is strikingly opposite. The fear and fury under the façade was evident in her performance of ‘Cabaret’, and while she sent Clifford off with a smile and flippant request to be remembered, as soon as the door closed the façade cracks completely. It was a genuinely gut-wrenching pathos.

While impossible to definitively read an audience’s reception, it is reasonable to guess that it was an enormous success in the case of Cabaret. At the show’s conclusion the incessant, enthusiastic applause brought actors and musicians for eight successive curtain calls. The compère was right: our troubles were forgotten at the show’s conclusion, and it was difficult to leave the entrancing, gritty world of the Kit Kat Club and Weimar Berlin.

A summer at the Prague State Opera

Prague State Opera

Reviews by Carmen Paddock

Critic’s note: I was not planning on seeing an opera (or two!) in Prague during my weekend there, but on finding that tickets could be grabbed on the night for either 175 CZK or 290 CZK – roughly the equivalent of £5 and £8.50 – it was too good an offer to refuse. At this price, seeing a production in the grand, gilded 19th-century building near Wenceslas Square is an unmissable experience whilst in the Czech capital.

Aida (seen 30/08/2014)

Giuseppe Verdi’s famous story of the tragic love triangle between an Egyptian general, the Pharaoh’s daughter, and her captive handmaid was grand opera at its height, including the full score and all ballet sequences (not common in contemporary performances). The orchestra and conductor seemed to know Verdi’s score perfectly: all tempos seemed unforced and both the tenderer, softer moments and the grand, swelling marches were handled with equal finesse. The set and costumes spared no expense or detail. Double-story staircases, columns, and gorgeously painted backdrops adorned the stage, and performers were in classical ‘Egyptian’ attire which looked luxurious but rather heavy! With only one twenty-minute interval and only short pauses for set changes (understandable with their scale) the production’s pacing was brisk for opera, running just at three hours.

The Russian singer Olga Romanko had a sweet, lyric soprano which captured the title character’s vulnerability and tenderness while showing glimpses of a steadfast strength in her simultaneous devotion to Rademes and to her defeated homeland. Gianluca Zampieri, a Venice native, had a perfect ‘heroic’ tenor for the warrior Radames, handling the cruelly-difficult ‘Celeste Aida’ aria gracefully The was standout performer, however, was Eva Urbanová as Amneris. The Czech mezzo-soprano handled the large vocal range with ease, displaying equal power throughout. Moreover, she perfectly conveyed the jealous princess’s proud, regal bearing as well as her cunning determination and romantic frustration in a way that was immediately relatable and sympathetic – not an easy feat with such a tempestuous character! Perhaps the performance’s only drawback was its reliance on vocal finesse to carry the night; while it largely succeeded, the old-school ‘stand and deliver’ approach became stale and repetitive, making the dynamic ballet numbers all the more exciting when they occurred.

Rigoletto (seen 31/08/2014)

The second night saw another Verdi classic performed in the grand opera style. The world of the hunchback jester, his naïve daughter, and the philandering duke who employs one while seducing the latter came opulently to life with stunningly-realistic rotating sets and costumes that conveyed the luxury of the 19th century court of Mantua. Once again, the orchestra and conductor were on top form; from the overture’s menacing ‘curse’ theme it was clear that they had full mastery of the score and its nuances. It was another briskly paced production; while no tempos was rushed and no sections cut, it came in at just two and a half hours, which left no time for boredom or distraction.

While also a victim of old-school staging (and sadly with no ballet numbers to break up the chorus’s static formation) the lead singers created interesting characters who could hold the audience’s attention. Perhaps the best performer was the Brazilian baritone Miguelangelo Cavalcanti in the title role. He created a fascinating dichotomy between Rigoletto’s bitingly sardonic court persona and his tender protection of his daughter – a contrast which made his fear and grief-stricken cries at his daughter’s abduction and then her death all the more heart-wrenching. Yukiko Srejmová Kinjo, a Japanese soprano, had a beautiful light voice and a touching innocence in her portrayal of Gilda, suffering only from some shrill, misplaced coloratura notes in her highest passages. The Slovakian tenor Peter Berger had a warm, pleasant voice and a rakish aura – both endearing and alienating – as the lascivious Duke of Mantua. His delivery of the aria ‘La Donna è mobile’ was delightfully fantastic – surprising considering the song’s iconic status. The supporting cast was equally satisfactory, especially the baritone who delivered Monterone’s curse in rich, booming tones; the contralto whose earthy voice conveyed Magdalenna’s sensibility and sensitivity; and the bass who impressively held Sparafucile’s lowest note to the last beat of his Act II duet.

Summer in London – A Collection of Reviews

Head Critic Phoebe Graham reflects upon a marathon of shows this summer in London.

Julius Caesar – Shakespeare’s Globe

Using the Globe’s £5 standing scheme I found myself stood amongst a crowd as if in Ancient Rome, witnessing the tale of Brutus and his dilemma between loyalty to a friend or the republic. Despite the plays notable length, the production kept me on my toes. I was gripped by this traditional retelling and enjoyed the hints of modern interpretation. The cast took confident ownership of the script, allowing me to understand the light and shade, the comic and the complexities of the Shakespearean language, which in the past has seemed daunting, even foreign to me.

The cast were sometimes integrated within the audience, which worked well to absorb the individual into the action of the piece, although sometimes the remarks and common crowd ‘jeers’ appeared a little forced.  Despite these quirks, the drama and climactic moments shone to create a highly entertaining performance. Most notably the assassination of Caesar, accompanied by simply three female modal singers, was highly creative and engaging.

Within the intimate atmosphere of the Globe, Julius Caesar was a thoughtful, accessible production; with a song and a dance at the end to add some twists to this productions bows. This is Shakespeare at its finest.

This production runs until the 11th October 2014 at Shakespeare’s Globe.

Mariinksy Ballet’s Swan Lake – Royal Opera House

A classic, powerful ballet in an exceptional venue, The Mariinksy Ballet met high expectations and offered surprises and twists in addition.

My favourite creative input was the introduction of the Royal Jester who provided a much needed comic relief throughout the performance to contrast with the heavily emotive scenes. The Jester brought both comedy and power to his role, through his extraordinarily accomplished leaps and spins (you can tell I’m not a trained dancer) which matched the vivacious character. The manipulated ending also provided a new and refreshing outlook on the original tale…[insert spoiler here].

The principle dancers strongly sustained their roles, with Alina Somova shining through as both the beautifully graceful Odette and the manipulative and dominant Odile. Prince Siegfried, played by Konstatin Zverev was a safe hero-prince who provided the lifts for Odette/Odile with confidence and ease. With every strong hero, you need an even stronger antagonist and Yuri Smekalov’s Von Rothbart held a threatening physicality along with his glorious winged costume was the perfect villain. I have always loved a good ol’ evil sorcerer.

This rendition of Tchaikovsky’s Swan Lake was supported by a glorious orchestra, an aesthetically mesmerising set and on point dancers (if you pardon the pun). If you missed this, keep a look out for the Royal Ballet’s Swan Lake at the Royal Opera House next year!

The Crucible – The Old Vic

Directed by the internationally acclaimed Yaël Farber and starring the tremendous stage and screen actor, Richard Armitage, this production is one of the best pieces of theatre I have ever experienced.

Performed in the round and running at a stellar 3 hours 30 minutes, I was enrapt by every second; the strong cast, the musicality, the choreography transported me. I felt as though a crumbling community, facing the menacing prospect of witches and the justice system, surrounded me.

Playwright Arthur Miller uses the 1692 Salem Witch Trials as a backdrop to politically criticise the unjust accusations of alleged communists led by Joseph McCarthy. Farber’s interpretation manages to sensitively highlight the social themes of betrayal and revenge, whilst maintaining the foreboding air of the supernatural and hysteria. This production creates an intoxicating atmosphere that transports and delights.

The Production runs until the 13th September at the Old Vic.

Calling new Young Critics

Do you fancy joining the Exeter Northcott Young Critics?  Well now is your chance because we are recruiting the next gang of enthusiastic performance lovers. Apply today and get free theatre tickets, meet other theatre enthusiasts, expand your experiences and learn to write about it all.  We meet a few times a term and invite special industry mentors to help you with your writing.   

“For me, as well as being given the opportunity to frequent the theatre, I have loved working with the other critics and being able to dicuss what we all love – I really enjoyed our joint article for the Moustrap.” Phoebe Graham, Young Critic 2013

“The best part of YCs has been the opportunity to see amazing shows that I may not have been able to afford or may not have made the effort to go see otherwise (shameful admission from a drama student and theatre lover…) while simultaneously developing my writing and analytical skills.  I feel that after just one year in the programme my appreciation for live performance has expanded greatly!” Carmen Paddock, Young Critic 2013

If you’re aged between 16-26 and interested in writing about performance apply by submitting a 250 word review of ANY show, gig, exhibition, film or television programme to marketing@exeternorthcott.co.uk by Friday 6th October 2014.

Ten of the most promising young critics will be selected to take part in the project. 

Donald Hutera Advice

Post by Lizzy Humber, YCs Tutor

Whilst at the Edinburgh Fringe Festival I got chatting to Donald Hutera in the que for Figs in Wigs at the Pleasance Below (well worth a watch by the way).  Donald is a journalist for The Times and a judge for the Total Theatre Awards, so I asked him, if he had any tips for the Exeter Northcott Young Critics?  He immediately corrected me and told me he could offer communications.  So we filmed a quick bit to my camera phone on the side of the street. Enjoy.

Follow Donald @DonaldHutera

Follow Lizzy @LizzyPennington

Summer 2014 at The Globe – Reviews

Shakespeare’s Globe, London

Reviews by Carmen Paddock

This summer Shakespeare’s Globe Theatre in London put on productions of two of the playwright’s ‘Roman’ tragedies, Anthony and Cleopatra and Julius Caesar, simultaneously. The two plays were performed by separate casts (and unfortunately were not seen in historical chronological order) but were united by their theme and their use of Elizabethan staging and costumes. Surprisingly, doublets and ruffed collars worked well even if the stories took place during the last years of the Roman Republic. It seems that the costumes fit expectations of a ‘Shakespearian’ production and the accompanying poetic language to the extent that it overpowered any historical incongruities.

Anthony and Cleopatra

25th July 2014 

While a very long play, this production did not drag due to the actors’ impeccable timing, both comic and tragic, and the smart stage directions facilitating simultaneous entrances and exits. The two lead actors, Clive Wood and Eve Best, were stunning. They made Anthony and Cleopatra by turns passionate, humorous, regal, stubborn, and painfully human – quite a contrast from what one expects of the world leaders and lovers! Their strong, nuanced performances powerfully and poignantly illustrated their legendary characters’ vulnerable sides, and they were unafraid to find the funny moments in even the saddest scenes. Even when Anthony was dying in Cleopatra’s arms there were lines delivered for laughter, but then the ensuing silences became all the more tragic. Had this bold decision not been taken the gravity and pathos of their final moments would have not have had the same effect. These were mature, worldly lovers. By contrast, the young Octavius’s every word and action was carefully calculated; his rationality and excellent political skills clearly made him the better leader but the effusive lives of the titular characters made them (against better judgment) more sympathetic. It was a masterful, engaging production

Julius Caesar

26th July 2014

This incredibly cerebral play made an effort to incorporate the audience from its very first moments; as soon as the doors opened, the actors flooded the stage, building the Roman senate set before the audiences’ eyes. Five minutes before the start time the actors spilt into the audience, cheering for Caesar (who returns to Rome triumphant at the play’s outset), throwing bread, and generally wreaking havoc among the ‘groundlings’. The constable’s opening lines about the urban rabble fit the context perfectly! As with Anthony and Cleopatra, much humour was found in the sometimes dense passages and long soliloquies. The two-standout actors were Luke Thompson as Mark Anthony and Tom McKay as Brutus, both of whom were completely captivating at all times. Thompson showed the young General’s rapid yet convincing maturation from carefree newcomer to seasoned Politician upon the murder of his friend and confidant, and McKay gave us a tormented Brutus who nonetheless took full responsibility for every single action. This was another success in the Globe’s summer roster.

Great Britain- A Review

National Theatre

28th July 2014

A Review by Carmen Paddock

The National Theatre’s premiere production of playwright Richard Bean’s Great Britain, a satirical comedy about the British tabloid media, is off to a strong start. Performances have been sold out almost constantly, and when seen on the evening of 26th July 2014 the full house was raucous in its laughter and generous in its applause. It is certainly well-deserved; the play is not perfect but nonetheless a strong piece of theatre which raises pointed issues whilst never failing to entertain. 

The plot follows the schemes and antics at The Free Press, a fictional tabloid paper vying for new readers. There, the journalists vie with one another for the juiciest stories, entering external politics and personal scandals as readily as they bring such scurrilous dealings into the office. At the core of the operation is Paige Britain, a conniving, ambitious, amoral news editor at The Free Press whose actions, words, and motivations were almost Machiavellian. Her narration united the piece, characters, and intertwining journalistic narratives – from phone hacking scandals to disappearing daughters – and lead the discoveries which brought the fast-paced plot to its conclusion. Sadly this was perhaps the weakest part of the show; the rushed climax and easy escape for many of the unscrupulous journalist felt a bit of a cop-out.

The entire ensemble cast was very strong, but the standout performer had to be Billie Piper as Paige Britain. Roles such as Richard III and Iago – those of the devious yet ever charming ‘Machiavellian’ villain that often wish the audience’s attention (or even affection) due to their charisma, ruthlessness, and roguishly blatant disregard for propriety – seem to abound for men, but it is rare to see such a female character. Bean, however, utterly succeeded in creating such a scandalously loveable female role and Piper was convincingly charming and no-holds-barred in it, wooing and winning the audience successfully.

The play’s use of audio and video media was not distracting in the slightest, instead serving to enhance the tone and story. Three large screens slid across the stage, allowing single or multiple still projections and videos to be shown during scene transitions or key moments of breaking news. These screens were transparent when not in use, creating office walls that the audience only could see inside. Naturally the multimedia aspect fit the newsroom atmosphere, with news breaking online, on television, and print simultaneously. Bean cleverly used these projections to satirise real-life publications, headlines, and pop culture trends; the Gardener and Dependent flashed ‘serious’ headlines whilst a tabloid publication unfailingly flashed immigrant scares, and the bumbling police chief’s clumsy speeches became YouTube dubstep remixes and internet memes.

Bean’s smart, engaging, irreverent play benefits greatly from a first-class ensemble headed by the magnetic Piper and the magnificent technical magic of the National Theatre. It is a promising premiere and certainly a highlight of London’s summer 2014 theatre offerings.

The Day We Played Brazil – Review

Exeter Northcott Theatre

Exeter Community Arts Project in partnership with Exeter City Football Club, Exeter City Supporters’ Trust, the Bike Shed Theatre and Exeter Northcott Theatre
Seen Wednesday 16^th July 2014

A Review by Saxon Mudge

With its passionate fans and players, tense match decisions, sensational wins and tragic losses, football can certainly be considered a game naturally linked to drama. However, despite this it is rarely presented in theatre, so for me, the decision to create a musical based on the sport was a brave one; and brave is exactly what The Day We Played Brazil is.

‘The Day We Played Brazil’ is the story of Exeter City’s 1914 tour of Argentina and of how they became the first team to play a match against Brazil. While this is the backbone of the story, the musical mainly focuses on the team members themselves, on their fans and loved ones, and on the legacy that their tour left behind. But do not be fooled, this is not just a play about football -it is far more than that. It is a play about love, about war, and most predominantly, about the trials of the individual and the hope of a great Devon community.

With a plot that spans 100 years and a cast of over 90 local people, ‘The Day We Played Brazil’ is community personified! Although evidently the cast are of mixed acting and singing abilities, everyone involved performs with passion; this being especially evident in the crowd chanting scenes and during the many renditions of ‘City!’. A Standout performance comes from Bethany Watson, who with an incredible singing voice and endearing West Country accent perfects the role of Winnie Prowse, a plucky young lady who happens to be Exeter City’s biggest fan. Other notable cast members include Jim Green, who plays the entirely loveable, but completely lovelorn Thomas and Franko Francis, and who is brilliant as the roguish Jimmy Langan. However, a special mention must go to Jon Blint as the unforgettably hilarious Arthur Davey, whose gutsy persona and love for his team is utterly charming (although Argyle fans might just disagree).

A particular highlight is the match between Exeter City and Brazil. The choreography of the scene is beautifully convincing, and the cast’s movement into the audience seating really enhances the pressures and nerves felt within the match. While the ‘farewell’ and ‘life back home’ scenes provide an interesting insight into the lives of the family and friends left behind, they do sometimes feel drawn out with forced dialogue, which ultimately makes the production unnecessarily slow at times. This is also the case with the use of music as some songs are repeated far too many times, thus they lose their initial impact. However, the musical score itself is well crafted and suitably presents the many flying emotions of the characters, especially those of Winnie and Thomas, whose different renditions of ‘You Don’t See Me’ really add a heart-breaking depth to show.

Despite the sometimes stunted dialogue, the show is packed with passion, making ‘The Day We Played Brazil’ a unique and ambitious production which, with an enthusiastic cast, presents the rich history of Exeter City AFC, showing the audience what it takes to be a true City fan!

‘The Day We Played Brazil’ returns for a special Gala performance on Saturday 2^nd August.

Young Critics Discuss – The Mousetrap

The Mousetrap

Exeter Northcott

30th June 2014

Discussion between Phoebe Graham, Freddie House and Saxon Mudge

After watching the 60^th anniversary touring production of ‘The Mousetrap’ at Exeter Northcott, Freddie, Saxon and I decided to conduct a mini Q&A session after the show to capture our immediate reactions to the Agatha Christie classic…

Phoebe’s Question: What is it about ‘The Mousetrap’ that has enabled it to become the longest running show ever?

Freddie: For me it is undeniably the suspense created throughout the entire production. From when the curtain rises to when the killer is revealed, both the script and the actors do a sterling job of playing the audience, giving out subtle indications in a conscientious manner, requiring little fancy lighting and grand sets to entertain the audience. This, personally, is what was so successful, and the frequent insertions of humour are welcome and contribute to a balanced and compelling piece of theatre.

Saxon:  I have to agree with Freddie on this question. The suspense created throughout the production is incredible, and is undoubtedly maintained by the extremely clever directing of the intricate storyline. While the suspense is, for me, the basis of the play’s success, the design of the production cannot be ignored. The small set design, simple lighting and classic music work together perfectly, and build up a sense of tension and claustrophobia, experienced by the characters and audience alike! Together these different elements create an atmosphere and fascination which is unlike that of any other play, so it is no wonder that The Moustrap has left theatre goers guessing ‘who dunnit’ for so many years!

Freddie’s Question: Would you say that the complexity of the plot sometimes seems to detract from the development of the characters, or do you feel Christie managed to weave the two together effectively?

Phoebe: I feel the complexity of the plots is all part of the excitement and genius of Christie’s plays. It forms an integral part of her theatrical identity which I wouldn’t want to compromise for the sake of easier comprehension and thus easier watching. I find it’s refreshing to be faced with a challenge when watching a piece of theatre and although Christie’s work could be associated with a more classic approach to theatre, through very simple and naturalistic sets and dialogue, I think it is certainly her level of criminal complexity which cause her plays to be triumphed as timeless. The Mousetrap in particular is an unusual play which, despite being formed in the basic ‘who dunnit’ structure, manages to subvert Christie’s own conventions and thus heighten the interest of each character…but you’ll have to go and watch to find out why! The oath of secrecy the audience make at the end of every performance and how this tradition has managed to be upheld demonstrates the extent of adoration from its audiences over 60 whole years.

Saxon: Although I initially left the theatre with an innate desperation to know more about the protagonists, I feel that the decision to withhold certain information about them was necessary. There is a lingering sense of ‘the unknown’ throughout the production which, for me, is vital in maintaining the tension and excitement of the production, especially when combined with the complicated plot. In many respects, it is not that the complexity of the plot that detracts from the development of the characters, and more that the lack of character development enhances the complexity of the plot! In this sense, The Mousetrap is a truly unique experience. Although the storyline is rich with the level of scandal and commotion you would expect from a Christie thriller, it’s complexity proves you cannot rely on the expected, and keeps the audience guessing even after the mystery is revealed!