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!

Ballet Black – Review

Exeter Northcott

28th May 2014
A Review by Carmen Paddock

Ballet Black’s latest dance showcase came to the Exeter Northcott for two nights at the end of May. The company of Black and Asian dancers from around the world performed a delightful two-hour set that attracted a wide range of audience. From primary school children to their grandparents – I was impressed to see so many young people in the audience. I am used to feeling in the minority along with a handful of university students.

The first half was comprised of two showcase pieces, the first with three dancers was contemporary dance with strong atmospheres, highly physical score and modern soundtrack. The second piece in contrast used elements from classical ballet, featuring romantic duets and impressive lifts, even down to the pointe shoes. Both pieces offered no storyline to follow, but the latter hinted at a romantic love story. I found both pieces exquisite to watch.

The second half was framed as a dream-within-a-dream (or in this case, a dance within a dance) sequence with an adaptation of the forest scenes from A Midsummer Night’s Dream. With a mix of 1950s songs and contemporary choreography, the piece explored the moment the ‘Puck’ character froze the scene, enchanted the three pairs of dancers, and transporting them to a magical forest. There, the plot abandoned Shakespeare. The six dancers began playing multiple parts to re-enact each of the play’s famous romantic confusions, but all with a twist. Instead of ‘Hermia’ and ‘Helena’ being matched with ‘Lysander’ and ‘Demetrius’, the two women fall in love and run off, leaving the comically confused men behind. Instead of returning to ‘Oberon’, ‘Tatania’ is perfectly happy with her donkey-eared ‘Bottom’. Lastly, instead of pursing his fairy queen to the end, ‘Oberon’ is seduced by a strapping male fairy and leaves the chase. At the end, the dancers resumed their classical costumes and poses, but the playfulness of the previous adventures left the auditorium in a decidedly joyful state.

It interested me that a company entirely comprised of British Black and Asian dancers, did not create material about race, which somehow seemed like a powerful statement in itself. This absence of comment begged the question of why it is not more common to see Black and Asian dancers in major ballet companies across the UK. I had never noticed that dance shoes and tights were matched to skin tones, and it struck me that the traditional, iconic pastel pink pointe shoes preserved a predominately white culture in ballet. Ballet Black did not treat the race as an ‘issue’ but performed their work with technical finesse, grace, and showmanship of the dancers – this challenging the me to examine my preconceptions of ballet. But above all to watch an unbelievably lovely evening of dance.

As You Like It

Shakespeare At the Tobacco Factory

13^th June

Exeter Northcott

 

A review by Grace Natusch 

Since I am currently tackling the epic tragedy that is King Lear in the classroom, which is heavy to say the least, seeing one of Shakespeare’s funniest comedies outside the classroom proved a refreshing change. The cast tell the story of the exile of Rosalind and Orlando with impeccable comic timing that had me roaring with laughter, genuinely feel-good moments and even some audience participation (A special mention has to go to the lady in the front row who nearly fell out of her chair trying to remove the fool’s socks).

What was fairly impressive about this production (and what I have found with Tobacco Factory productions in the past) is that they manage to make Shakespearian dialogue incredibly accessible through their acting, meaning the story is gripping and easy to follow (something which is sadly not the case with all Shakespeare productions). Because of this, it was easy to feel as if you had stepped into the Forest of Arden and were watching Orlando’s wrestling match and Rosalind’s cross-dressing antics as if you were actually there.

As well as this the production made wonderful use of music and singing to help scenes transition smoothly from one to another, with guitars, accordions and other musical instruments making their appearance onstage. All in all, the Tobacco Factory does a brilliant job of what is probably my new favourite Shakespeare comedy (narrowly overtaking Twelfth Night) and is well worth watching if you are looking for something a little lighter than Lear.

Jerusalem – A review

Jerusalem

Common Players in association with Exeter Northcott

Rougemont Gardens

29th May 2014

A review by Grace Natusch

Drawing heavily on the popular mythology of Britain, with mentions of everyone from King Arthur to St George, Jerusalem tells the mythology of the outsiders of society, namely Johnny Byron: living in a caravan, about to be kicked out the council and telling tall stories about meeting the giants who built Stonehenge, about his past as a motorcyclist and having sex with Girls Aloud. The play pits Byron against the ‘antiseptic modern world’, with him being threatened to be booted out by the council and the new estate seeming to be the antithesis of his ramshackle life (in a caravan littered with tube signs, union jacks and other ephemera).

The play took place outside, in Rougemont gardens, which gave it a feeling of authenticity, since the set looked like it could actually be lived in and the cast managed to cope with the occasional scattered showers which wanted to be part of the action. The play also added an extra dimension by using a diverse range of music, from Dubstep, to verses of iambic pentameter, to hymns (notably, the hymn ‘Jerusalem’ which the play drew its name from).

However, while the premise and setting were great, the play felt a little stilted due to the pacing feeling a bit slow.  The heavy usage of music and the similar emphasis on British iconography left it at times feeling a little bit derivative of the Olympics opening ceremony. However, as a whole Jerusalem is a quirky take on our relationship with both the modern world and the past (real or imagined).

Jerusalem is touring the Westcountry until the 28th June, full details here.

Ignite 2014 – Young Critics Recommend

The Exeter Northcott Young Critics are busy this week for Ignite, Exeter’s brilliant festival of Theatre now in it’s 5th year.  Supported by Belinda Dillion the young critics are on assignment for Wildfire, the daily review paper.  It’s going to be a great challenge to watch, write and submit their reviews all within a few hours.  Grace Natusch is particularly excited by the opportunity as it will mean her review will be published alongside professional critics for the first time.  We met last week to discuss the programme, and Carmen and Grace would like to share a few recommendations and shows that have grabbed their attention, should you still be umming and arring about what to see.

Carmen Paddock

While the Ignite Festival has no shortage of fantastic theatrical performances of all forms and styles, I would have to highlight the RAW Platform as an exceptionally unique, diverse, and exciting offering.  Produced by Exeter University’s Drama Department in conjunction with the Exeter Northcott Theatre, it showcases the original work of graduating BA and MFA students in a rotating performance schedule over three days.  This year includes commedia dell’arte, dance theatre, verbatim, Shakespeare re-imaginings, comedy, and more.

Another especially exciting piece during this Ignite Festival is Poetry Ping-Pong, showing at the Exeter Phoenix.  Billed as ‘an evening of comedy and spoken word’, it is set far in the future, when poetry is turned into a blood sport and now only two contestants remain in this deadly game.  The premise and early reviews promise an insanely entertaining show!

Grace Natusch

Love Sick – A play by the All in theatre, I was drawn to this play by the rather grabbing blurb, which told me that it was about love, aliens and their dying planet. This play looks like a comedic look at how we view love and I’m looking forward to seeing what the alien ambassadors have to say on the subject.

A stand up show from Alfie Brown, Divorced from reality (and my wife), has an attention grabbing name and is described as ‘another screaming, pretentious, crusading monstrosity’.  It will be interesting to see how this show handles divorce and mental illness and manages to remain hilarious all at the same time.

Keep an eye out for Wildfire around Exeter and on the blog, the first paper is published today!

Whats next? Reviews on their way from last weeks dance performance by EDge at Exeter Phoenix and community play Jerusalem in Rougemont Gardens.

 

 

 

Birdsong – Young Critics Discuss

Birdsong

Exeter Northcott 

8th May 2014

A review conversation by Young Critics Carmen Paddock and Freddie House

On the centenary of the outbreak of World War I, the Original Theatre Company and Birdsong Productions Ltd. have launched a national tour of Birdsong, an adaptation of Sebastian Faulks’s celebrated novel set in France before, during, and after the Great War. It is a moving exploration of the devastations of war, and to convey its brutality yet also its poignancy within the small space of any theatre is not a simple task. Rachel Wagstaff’s bold decision to transfer Birdsong to the stage is here seen through the eyes of two reviewers with varying background knowledge and subsequent expectations.

Carmen

As someone who had never read the original material, I cannot comment on the way the story has been adapted for the stage. However as a piece of theatre it was riveting, capturing the audience’s undivided attention for a two-and-half-hour run time which flew by.

The aura of war permeated the auditorium well before the actual performance. The curtain was raised, revealing a set dominated by rubble, barbed wire, and barricades, and about five minutes before the scheduled start time a low, intermittent drum started to play. This martial music got slowly louder and louder, reaching full show volume as the play began. It was incredible how this military atmosphere pervaded the space before the auditorium lights had even dimmed, heightening immersive experience (and at certain points, its abject terror). Another very effective element of the production was its excellent use of live music throughout. Transitions were often accompanied by live violin music, and several scenes incorporated humming and choral or solo singing. These were intelligently inserted at key plot moments to underscore the characters’ experiences and emotions.

The plot combines two storylines in a series of wartime chronological events and pre-war flashbacks, and the transitions are indicated by abstract physical movements and set changes. It follows Stephen Wraysford, a young Englishman who is seen both during his time with a French factory owner in 1910 and then as a lieutenant leading his men through France, ultimately to the Battle of the Somme. Memories of the former time pervade Stephen’s horrific present existence, especially his passionate affair with the beautiful Isabelle Astaire, the factory owner’s strong yet unhappy wife. Sometimes these transitions were difficult to follow, but that could have been due to an unfamiliarity with the novel.

Birdsong was incredibly well-acted; all roles from the leads to the supporting characters were fleshed out and individual. Special mention must go to Carolin Stoltz; she gave a nuanced, convincing, heartfelt performance, encapsulating both Isabelle’s resilience and tenderness. If there was a weak link, however, it would have been George Banks as Stephen. Playing such a volatile character with extremes of gentleness and brutality is no small feat, but these passions sometimes seemed unrelatable, thus distancing him from the audience. Perhaps with hundreds of pages to explain his character in the novel, he comes off as more sympathetic there.

Even amongst the production’s atmospheric and performance strengths, the technical effects were possibly its strongest elements. The creative team unafraid to go for extremes – hard blackouts, loud shots and shell explosions, and a massive set (described above). These certainly served the piece’s visceral violence and gave the impression that even the audience was not safe from the bullets, tunnel collapses, and mindless slaughter. Birdsong, while not perfect, was a memorable night of theatre for its well-executed direction and design, its mostly powerful performances, and its poignant story.

Freddie

This centennial production pays off in my opinion, with this adaptation successfully conveying the extreme desolation and terror of living in wartime. Having studied the novel Birdsong at school, I was interested to see the ways in which the Original Theatre Company would translate such a renowned piece of literature onto the stage, and the result was striking to say the least.

Faulks opens the novel in peacetime, prior to the outbreak of war, depicting Amiens as a tranquil and pastoral environment. The stage adaptation, however, opens in wartime, and introduces the audience to Jack Firebrace, a tunneller, played with the convincing contrast between his self-assurance and vulnerability by former Blue Peter presenter Peter Duncan. Jack is surrounded by his colleagues, who include Jonny Clarke as the naïve and juvenile Tipper, whilst Samuel Martin strikes a chord of affection with his light-hearted yet compelling portrayal of Evans.

Birdsong’s protagonist, Stephen Wraysford, portrayed by George Banks, is introduced to the audience as a cold and dethatched persona in wartime. The production then shifts back in time setting between wartime and pre-war throughout the two acts, slowly unveiling the cause of Stephen’s pain as his long-lost lover, Isabelle, who was seductively yet innocently depicted by Carolin Stoltz. Whilst this is a refreshing and somewhat innovative take on the structure of the novel, it made Banks’ job of conveying the two aspects of Stephen’s character, with his passion before the war and his detachment during, much more challenging. I felt the demands of switching between the time settings made it difficult for him to demonstrate honestly the impact both love and war have had on his character over time, often giving the sense that Banks explored only the cold aspects of Stephen’s character in order to make the audience’s, and indeed his, evening a little easier. The change in structure, I felt, was a bold risk, and in terms of the audience’s viewpoint was very effective, but unfortunately led to be a major flaw in the production as a whole due to the unconvincing presentation of the play’s vital lead role.

Don’t, however, let this deter you from what was otherwise a great night at the theatre. The subtle and powerful undertones of the violin conveyed the strong sense of the fragility of the soldiers that takes pages of Faulks’ descriptive language to capture, whilst the powerful and striking drum beats transported the audience directly to life on the front line. The intense bursts of light signalling explosions, followed by a sudden blackout, made even the back row squint, making the entire audience feel involved in the unfolding of events. The set also managed to perform its challenging role of switching settings very effectively, with practical props signalling to the audience the exact time and place of the current scene.

If you are a fan of the novel, I would advise that you book tickets immediately to see this raw and honest adaptation of Birdsong. If you are not a fan of the novel, or like Carmen you have not read it, you are not at a disadvantage. If I had to say just one thing, it would be that the stage production does not worry about straying too far from the text, and most definitely establishes itself as a stand-alone piece of theatre. Most of the time this is effective, and for that I commend it.

Birdsong – Review

Birdsong

Exeter Northcott

9th May 2014

A review by Phoebe Graham

Based on the acclaimed novel by Sebastian Faulks, Birdsong presents the experiences and psychological effects of fighting on the Western Front during World War One. Amidst the chaos leading up to the Battle of the Somme, an English Officer reminisces of a time of lost love, transporting the audience on a journey through his life before and during the War, whilst questioning himself and his reasons for fighting.

Life on the front line is a hard concept to manage, especially on stage, but the Original Theatre Company faced this challenge with a stunning visual representation and technical recreation of the Wartime experience. The authentic set, designed by Victoria Spearing, consisted of a scenic backdrop of barbed wire and broken wood to represent the front line trenches as well as a movable tunnel and a balcony for the more domestic scenes. This combination of settings within the set allowed for seamless transitions, which were enhanced by the actors who brought on the props and necessary pieces to bring the action to life.

The surprisingly realistic sound effects used to realise trench warfare created a tangible insight into the intensity of life on the front line. Alex Wardle’s lighting, which made strong use of shadows and minimal light in order to plunge the audience into the darkness felt by those who had to endure the tunnels and the general back light which subtly changed depending on the time of day and setting, both contributed to an exceptional technical show. These aspects of the performance were what really gave Birdsong its edge, emphasising the sensory experience of wartime France.

The emotion of the show was undoubtedly lifted by the original music executed expressively by actor-musician Samuel Martin. The music allowed for the performance to flow through the different time periods of the show, sewing together pieces of the story as smoothly as the stroke of the violin bow as well as heightening melancholy moments. This was exemplified in my favourite scene of the show where the men of the trenches and the tunnels all read out their letters to their loved ones, accompanied by a single singer in a heart-wrenching rendition of traditional welsh song Calon Lan.

A strong ensemble supported the play, many actors playing several characters with great conviction. The heart of the play was attributed to the men who were in the tunnels where all actors pulled off both an entertaining and moving performance. These sections were led by the fantastic Peter Duncan who stood out as the most convincing actor of the play in a very complex role, despite his Blue Peter beginnings. If anything, I would have quite liked to see more of this side to the play, as I wasn’t entirely enthused by the other love driven storyline.

Despite a dedicated performance, I found the lover leads of Stephen Wraysford (George Banks) and Izabelle Azaire (Carolin Stoltz) quite tiresome to watch. Banks was set on excessively throwing himself around the stage in an over-exaggerated fashion for the majority of the play and if not was awkwardly hanging off other characters for the rest, shouting inaudible clamors. Stoltz‘s character also remained rather stagnant throughout, with the exception of a rather raunchy, gracelessly half choreographed romance scene, where I finally saw a short-lived complexity evolve in her character. The main issue with both of their performances was the complete lack of charisma. They managed to disconnect themselves from my sentiments in such a way that I was left in the interval simply not caring about the further development of their story.

Regardless of this laboured narrative, I commend The Original Theatre Company for staging Birdsong with such beauty and sensitivity. I write this with the palpable scent of gun powder and smoke still tickling my senses along with the wonderfully unforgettable silhouettes of the front line soldiers. This frozen action of the men climbing the trenches will be the closest I will get to being able to comprehend the atrocities of the First World War. This is what makes Birdsong a necessary piece of theatre.

Under Milk Wood – Reviews

Under Milk Wood

Clwyd Theatr Cymru

Exeter Northcott Theatre

1st May 2014

A review by Carmen Paddock

Clwyd Theatr Cymru’s production of Under Milk Wood marks two interconnected anniversaries: the centenary of Dylan Thomas’s birth in 1914 and sixty years since the piece’s premiere in 1954. Both a poem and a play, it tells the story of a small seaside Welsh town, Llareggub; while the actual locale is entirely a figment of Thomas’s imagination, the rough habits, uncouth expressions, and day-to-day squabbles of the town’s inhabitants take on a poignantly beautiful sheen against their hopes, dreams, and daily routines. Despite the piece’s unflinching rudeness (just spell Llareggub backwards!) the production sparkled with life, love, and nostalgia. The plot is simple, merely following one day in the lives of the town’s inhabitants, from the old blind sea captain to the young girls dreaming of adulthood, from the drunkard sailor to the mailman to the (un)happily married couples. Each has their own secrets and desires as they go about their ordinary business. The play begins with nighttime dreams and follows the hours through the entire day, ending with the setting sun and return to bed. It was consequently no surprise that this entire production aesthetic revolves around the passage of time and the unique location. The massive, solid set was a miracle of touring theatre and deserves special mention. The floor was a solid, multi-leveled, earth-coloured spiral, each section representing a different area of Llareggub. With the exception of Captain Cat’s armchair, the only furnishings or props were a few chairs, which were moved to create the scenes’ various indoor and outdoor locations, the rest of the scenic details supplied by the actors’ performances and imagination. In contrast to the floor’s plainness, the circular backdrop showed the town in resplendent detail with three dimensional boats, trees, streets, and houses hanging over the performers. It was surrounded by a blue semi-circle – the sky – with a moving sun tracking the passage of the day throughout the duration of the show. Naturally the interval fell at high noon. The set’s immense, meticulous, symbolic design was a highlight of the evening and generated much discussion amongst the audience. The cast entered and exited the stage as a unit; when they were not acting themselves, they sat on the stage and watched the scene in progress, which highlighted the unified ensemble nature of the production. Consequently, watching the performers assume a character before the audiences’ eyes was part of the piece’s charming illusion. All were dressed in simple clothing reminiscent of the time and place, but – similar to the set design – no other distinguishing props or costumes were used; any others would have been entirely extraneous since the vividness of the actors’ physicalities and voices were more than sufficient to evoke the larger-than-life inhabitants of Llareggub. While all portrayals were stereotypes in some way or another, they were always sympathetic, never ridiculing. The comedic characters, especially the exaggeratedly bawdy and scatological Nogood Boyo and Ocky Milkman (both played brilliantly by the same actor) provided the most raucous moments of the evening. The show came to a halt with the audience’s laughter, and even the First Voice corpsed with giggles on multiple occasions (which only added to the hilarity). Due to its stunning scenic design and enthusiastic performances, not to mention the inherent beauty of the story and language, this production of Under Milk Wood seemed a fitting tribute for Thomas’s centenary.

Clwyd Theatr Cymru

A Review by Grace Natusch

Through a mixture of rich poetic dialogue and physical acting, the cast created hilarious, yet often poignant vignettes of life in small Welsh village. Under Milk Wood was originally written and performed for radio and the incredible dialogue is clearly a by-product of that – the playwright Dylan Thomas’ use of rhythmical poetry reflects the plays depiction of the rhythm of day and night, which was again cleverly reflected in the staging: in the parts of the play set at night, the lighting turned the stage into a surreal, glimmering moon and during the day a sun rose and set over the stage as the play progressed.

As narrators take you on a tour of these lives, you are given the opportunity to get inside their heads, experience their dreams and then see their everyday lives from a whole new perspective. The cast all play multiple roles, acting as an ensemble, allowing you to meet the many different residents of Llareggub, from blind Captain Cat who dreams of his dead friends to twice-widowed Mrs Ogmore Pritchard (whose obsession with cleanliness and control seems to have driven both her husbands to an early death). As well as being very funny, it was also very nostalgic for me, since I spent many holidays with my grandparents in rural Wales growing up and the subtle references that give this play a strong sense of ‘Welshness’ had me longing to go back. Even though the play only spans one day and one night, by the end you have the sense that the characters are less like strangers to you, more like long lost friends.

 

Under Milk Wood returns to Devon at THEATRE ROYAL, PLYMOUTH Tuesday 27 – Saturday 31 May 2014

H.M.S. Pinafore – Review

H.M.S. Pinafore

by W.S Gilbert and Arthur Sullivan 

Exeter Northcott 

Saturday 5^th April 2014

Review by Saxon Mudge

Sometimes, when you least expect it, a show comes along and sweeps you off your feet, reminding you of what it is about theatre that makes it so special. Undoubtedly, Sasha Regan’s all-male H.M.S. Pinafore is one of these shows. The production is slick, saucy and genuinely charming – I loved every second of it! Presenting Gilbert and Sullivan to the modern audience can be a challenge, but Regan does it with ease, making each joke fresh and original without losing the show’s classic appeal.

Set on a World War Two battleship, the show presents the ins and outs of life aboard the Pinafore, and tells the hilarious tale of love between classes. The production is full to the brim of impressive vocals, witty jokes and some of the most inventive choreography I have seen on stage; all of which make up for the opera’s farcical plot and somewhat bewildering ending.

What is really striking is the simplicity of the production. The sailors’ staple costumes consist of a vest, shorts and a beanie hat; a single keyboard accompanies the many musical numbers; the set is stripped back to a few bunk beds, some boxes and a rope. However, it is not what the set looks like, but how it is used that makes it interesting. The multifunctional props really add to the overall humour of the show, with the use of rope during “Things are seldom what they seem” being especially effective. This enhancement in turn brings more focus to the cast, whose charisma, harmonies and subtle sight-gags fill the theatre more than any elaborate set design could.

The ensemble is hilarious, and works together in a way that presents the crew as a united group of people with individual personalities, something which is surprisingly challenging to convincingly capture on stage. It is easy to forget that it is an all-male cast, as the male sopranos are utterly spell-binding; a notable performance being Alan Richardson’s ‘Josephine’ whose angelic vocals in “Sorry her lot who loves too well” are a highlight of the show. Keith Jack charms the audience as the lovelorn ‘Ralph’, Alex Weatherhill’s rosy and endearing ‘Buttercup’ leaves no face without a grin and David McKechnie is superb in his role as the arrogant and obsequious ‘Sir Joseph Porter K.C.B’. However, the standout performances of the show come from Neil Moors, whose power-house voice and energetic presence make for a brilliant ‘Captain Cocoran’ and the hilarious Richard Russell Edwards as the loveable yet neglected ‘Cousin Hebe’.

I must confess that this is the first Gilbert and Sullivan I have ever seen, and that I had never even heard of the Savoy Operas before watching the show, but if they’re all as fun and sincere as Sasha Regan’s inventive production then I cannot wait for a Gilbert and Sullivan filled future.

The all-male H.M.S. Pinafore is touring the UK until May 10^th, so I urge anyone who hasn’t seen it to step forward, buy tickets and march straight to this show – If you please.

Translations – Reviews

Translations

English Touring Theatre

Exeter Northcott 

Wednesday 19^th March 2014

Review by Grace Natusch

Before I saw translations I was sceptical; how on earth can a play about translating signposts be even remotely compelling? However I was forced to eat my words: A clash of cultures which tears at your heartstrings is what made this play one of the best I’ve seen.

The play is set in a traditional Irish ‘hedge school’ – a rural school for local peasants where they learn a number of subjects, including Greek and Latin, which is quoted extensively during the play. When the brother of one of the teachers returns to help the English army translate place names for Gaelic to English, suddenly people are forced to make decisions between the new culture being thrust upon them and the old traditions they are used to. This is further complicated when Maire, one of the students at the school falls in love with Yolland, one of the English soldiers.

Translations centres around the limitations of language: Sarah cannot speak properly and is alienated from the other characters, English cannot communicate the meaning of Gaelic place names properly and Greek and Latin cannot prepare Maire for a life in America, darkly foreshadowing the fading of Gaelic into a dead language; in a stroke of genius, the entire dialogue of the play is also shown on translation screens. Underneath it all you get the sense of the tensions bubbling between the invading English culture and the oppressed Irish culture, with Maire and Yolland caught up in between. While Maire and Yolland are both fascinated by each other’s cultures and eager to explore them, there is a warning in the play about the dangers of ‘marrying outside the tribe’.

This had me thinking a lot about the idea of cultural assimilation and how relevant the themes in the play continue to be. While colonial oppression is less of an issue than it used to be, it is often complained that western civilisation presses its values and ideals on other cultures. The play explores this idea through the translation of signs, literally demanding assimilation through the use of language, effectively ‘anglicising’ Ireland.

Review by Carmen Paddock

Brian Friel’s 1980 play Translations, set in 1833 Ireland when the English were dividing and renaming local regions and towns, was written at the height of the Troubles but loses none of its poignancy in 2014. Its themes of clashing communication underscoring deeper sociopolitical clashes were resoundingly melancholy and seemed to hit a more universal connection than the topical circumstances of its origins suggest. Friel’s plot and cleverly-written script juxtapose a hedge school’s instruction in Latin and ancient Greek (two dead languages) with the students’ lack of knowledge of English (the invading language), making this tragedy of lost culture relatable even to those with no personal connection to Ireland’s situation.

Perhaps the aesthetic of this English Touring Theatre production, seen on 19th March at the Exeter Northcott Theatre, helped to create this pervasive feeling of loss. It established the play’s atmospheric setting from the very start; upon entering the auditorium, the audience was greeted by a dimly-lit snapshot of another time – a two-storey stone farmhouse and barn surrounded by straw-strewn grounds – already visible on stage. Throughout the play this set was never cleared away; lighting changes indicated each act’s beginning and ending as well as changes of scene within the play, and neither curtains nor set changes were ever used. This use of lighting proved to be a wise design decision, not only allowing for the construction of this incredibly realistic scene but also keeping the audience immersed in the world of the play, a world which we saw before its inevitable invasion and destruction.

The plot follows the inhabitants of Baile Beag, a fictional village in Donegal. The old schoolmaster Hugh leads a hedge school with the locals, including his son Manus, a half-mute girl named Sarah (a further addition to the communication theme), and Maire, a young lady planning to emigrate to America. After the arrival of the English army, who have come to survey and divide the land and to Anglicise and standardise all local names, a love triangle ensues between Manus, Maire, and Lieutenant Yolland, who subsequently goes missing. Amid murmurs of violence the commanding captain orders the destruction of the village’s livelihoods should Yolland not be found, and the play ends ambiguously yet not hopefully.

The actors all created strong, individual characters; the standouts were Beth Cooke, who brought a poignant mix of idealism and realism to Maire, and James Northcote, a lovably yet foolishly optimistic Yolland. The one weak link may have been Niall Buggy as Hugh, who veered towards stereotype in his portrayal of the esoteric schoolmaster and thus lost some sympathy in his conduct towards the English officers.

As previously mentioned, the interplay of languages features prominently; however no Irish was actually spoken, instead being delivered in English with heavy Irish accents. It took a while to figure out this conceit but once apparent it served the script’s nuances well, especially when two characters would speak the same lines – word for word – and have no idea what the other was saying. Latin and Greek are heard and not always translated in the text. To facilitate understanding, electronic subtitle boards were placed on either side of the stage. Everything was subtitled, even the straight English text, which made sense for coherence and continuity but could be distracting, tempting one to look at the screens instead of the action.

On the whole, this production of Translations was an achingly beautiful examination of cultures lost, communications severed, and the memories of times past.