Tag Archives: Greenwich Theatre

Theatre Review: Line-Up (Greenwich Theatre, London)

LineUpRating: ****

In A Nutshell

A brilliant smorgasbord of newly nurtured writing at the hands of the Vertical Line Theatre company/collaborative.

Overview

Five writers meet with five directors, and the result is a showcase consisting of 10-15 minute excerpts of a new play, performed to a discerning paying audience.

Concept

Vertical Line Theatre is a company that I’ve come across before, engaging with the end result of one of the shows that they’ve chaperoned into becoming a fully realised and top-notch play: The Five Stages of Waiting by Caro Dixey. This is also the company and concept that gave us the award-winning Superhero Snail Boy. So it’s a thrill to suddenly get to see the process from further back along the production line, with five potentially scintillating pieces.

Although it’s another new writing night in London, where it differs from initiatives like Bare Essentials is that it’s a vehicle for proofing lengthier ambitions of new writers with a view to develop well received ones further, rather than just provide a showcase platform for new writing. What this provides is an opportunity to gauge a direct response from dedicated theatre goers to these new pieces.

As per my #FreshOffTheStalls video review, as it’s a bit difficult to really rate out of five any of these pieces of writing as they’re all excerpts,  I’ll apply a traffic-light rating as to whether this is a play I would like to see more of (green = yes, amber = maybe, red = no).

Emoti(con), by Andrew Maddock
Dir: Anne Stoffels
Rating: Green

In this play about cyber bullying, there is so much more that meets the eye beyond your usual high school cautionary tale. Maddock intersperses scenes with wonderfully imaginative and rich poems, as well as prying intelligently and truthfully into the sinister depths of the issue. But even within this small snippet of a larger play, Maddock weaves a web of intrigue and enigma that takes the characters and the message of the piece beyond something shallow and as juvenile as the students it involves.

Director Stoffels also compliments these artistic interludes with an intricate fuss of movement and physical theatre that mesmerises as much as it enchants.

An intriguing subtle thriller full of teenage kicks.

Someone Borrowed, Something New, by Sevan K Greene.
Dir: Adam Slepowronski
Rating: Green

Greene tears down ideas of what constitutes love and relationships in this riotous comedy. As well as providing a scenario that very intelligently toys with perceptions of sex, marriage, and affection, Greene writes characters with some amazingly hilarious comic ticks and traits. Because Greene’s comedy comes from the very nature of how the characters behave and interact, it augments the issues and arguments that are being made here. Even when things get a little serious you hardly notice that the pace of the comedy has dropped a little because you’re actually incredibly involved in the characters’ predicaments themselves.

Actors Alexa Hartley, Darryl Oakley, and Greta Wray work marvellously together in bouncing oddball chemistries off each other, and really understand and push through the comical aspects of the characters they inhabit. A raucous yet surprisingly provocative chuckle.

Underneath, by Joe Lidster
Dir: Ahmed El-Alfy
Rating: Amber

Seeing as Halloween had just recently happened, it was nice to see something supernatural in its remit: a comedy where two characters fall asleep on a tube and end up in what they assume is Epping. The comedy is created by Lidster capitalising on the everyday prejudices of the characters through eavesdropping in on their internal monologues, providing some wonderful character-driven laughs in the midst of a more sinister unfolding narrative.

However, it does have some significant flaws. The back and forth (and internalised) banter just feels a bit untidy, drawing focus and procrastinating away from the overarching narrative that’s supposed to be developing. Also, there are some technical plot points that are a little overlooked, such as the lack of attempt at emergency exits, which feels a little obvious. It’s also difficult to distinguish whether a character is speaking externally or internally, confusing the action just a touch.

But there is real potential in the piece, especially in it’s audacious and original concept. Despite the grumbles about the play’s pacing and messiness, I certainly keen to see what spooky spooky goings on will become of it. It just needs some definite tidying up and more meticulous tweaking.

Parade, by Perditta Stott
Dir: Elliot Brown
Rating: Green

One of the most powerful pieces of the line-up, as Stott looks at sectarian culture and racism in Belfast through the eyes of a child. Brutally honest and innocent, its both a heart-warming and unnerving look at The Troubles. Stott’s writing is wonderfully child-like and were it not for the visible comparative maturity of the actors, you’d have thought the stage was awash with children’s’ chatter.

Enhancing the marvellous text is some creative direction from Elliot Brown. Not only does Brown capitalise completely on the bare set (just a row of wooden chairs) to build walls and bonfires, there’s also elements of puppetry to represent other characters involved in the story, particularly the main character’s toddler brother. The result is a production that as playful as it is inventive.

The cast here are also excellent. Not only do they embody a real child-like charm and energy, those that do play several characters throughout this excerpt through their efforts into playing the others as well.

Back, by Tina Jay
Dir: Jonny Collis
Rating: Green

Tina Jay is a new writer that I’ was first introduced to as part of Ladylogue! and it’s great to see her appear here too with something just as polished. Jay presents what is certainly the most difficult piece of the evening, but by no means making it the least interesting or entertaining.

What makes it difficult is the subject: something that is already trigger-saturated and uncomfortable without it being put through Jay’s narrative. Therefore, it takes a while to settle into the issues being discussed, but once you do, you start to notice how intricate the writing is as well as it being incredibly emotive. Jay’s piece leaves little breadcrumbs along the entire way for the audience to pick up and follow. You never, at any point, get the full picture, leaving you intrigued and wondering what the real story is behind the confrontation that we’re witnessing on stage. But every so often, another fact is suddenly unveiled significantly changing the meaning and perception of what’s happening. This keeps you constantly involved and curious as to where the narrative is going to turn next, and is a plot that’s as unforgiving and intense as the issues discussed.

Unfortuantely, the excerpt means that we don’t get the Full Monty of this teasing reveal: all the more reason to hope it’ll see a full-length realisation soon!

Verdict

An excellent and surprising evening of new writing of an incredibly high calibre, demonstrating that the successes of Superhero Snail Boy and The Five Stages of Waiting are by far the apexes of this initiative.

[youtube http://youtu.be/JVYfssQ32YU]

Line-Up took place at the Greenwich Theatre, London, SE10 8ES, on 1 November 2014. For more information about Line-Up and the work of Vertical Line Theatre, visit 

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Theatre Review: Avenue Q (Greenwich Theatre, London)

Felt Friends. The cast of Avenue Q> Photograph: Courtesy of the production.

Felt Friends. The cast of Avenue Q. Photograph: Courtesy of the production.

Rating: ****

Avenue Q is probably one of the most outrageous of modern musicals, earning itself pride and praise alongside other risqué and brilliant ventures such as The Book of Mormon and Jerry Springer: The Opera. Five years after a spectacular run in the West End following on from its New York and Tony “Triple Crown” (Best Book, Best Musical, and Best Score), it returns to UK shores in this touring production by Sell A Door, landing in Greenwich for a brief period as its first stop.

Book and Songs

Book writer Jeff Whitty has his sights set to kill, with the nostalgia of innocence surrounding our memories of Sesame Street and other such shows right in his line of vision. Essentially, the musical asks, “what happens when puppets grow up?” The answer is they drink, they swear, and they fuck, with as much aplomb as us of non-felt origin do. Yet Whitty’s genius is that despite the very adult situations these fuzzy friends find themselves in, there’s still a definite air of children’s TV’s charm. It’s a devastating wit that drives the show, with the juxtaposition of explicit scenes and offence against a puppy-eyed Jackanory demeanour causing laughs and surprises that constantly come thick and fast.

Robert Lopez and Jeff Marx supply an anthology of songs that complement Whitty’s vision to a T. Whether it’s a jolly ditty about how, “Everyone’s a Little Bit Racist”, to explaining the joys of, “Schadenfreude” and how, “The Internet is for Porn”, all are smart, slick, and tuneful. But most importantly, they’re incredibly catchy and so easy to pick up. If you still have enough wind left in you from all the laughter you’ll be singing them out loud for days to come (but perhaps not in the office).

Production

Being a touring production, those who managed to catch the show during its West End residency, will notice that the set is much smaller and not as polished. But this doesn’t really matter as it’s Cressida Carré’s direction of the talented cast that shines through, making the set just a means to an end. Carré ensures that there’s plenty of energy throughout the show, letting the brilliant book, lyrics, and songs do the talking through an excellent cast. It’s noticeably pared down by way of staging, but the creative team make sure that not one ounce of the show itself suffers.

Cast

At the beginning, the fact that the cast controlling puppets are clearly visible is a bit of a distraction. As the puppets themselves are only formed from the waist up, it’s a little difficult to suspend your disbelief at first. But then something magical happens. You stop noticing the actors altogether.

Tom Steedon, playing Princetown and Rod, breathes excellent life into his to characters. Even if you just can’t see the puppets without seeing him at the same time, his larger than life facial expressions and the charismatic sass in his physicality make him a joy to watch. However, his leading partner, Lucie-Mae Sumner, playing Kate and Lucy the Slut, manages to do something quite magical. At points she and puppet meld as one, with both her and felt counterpart behaving in unity, complementing each other. Add that to her impeccable comic timing, and a wonderfully smooth and clear voice, she steals the show.

The rest of the cast, both puppeteers and non-puppet wielding ones also match Sumner’s and Steedon’s energy, pace, and comedy, working brilliantly as an ensemble. All revel in the humour and unabashed joy of the musical itself, and it shows.

Verdict

Up yours...literally! Photograph: Courtesy of the production.

Up yours…literally! Photograph: Courtesy of the production.

It’s great to see that despite it being a touring version, it seems that nothing has been lost from the standard of the original West End production. Having personally seen it before, I’d actually wager that it’s a little better, especially as some of the scenes seem to be played even more gloriously over the top than before.

Whether you caught it the first time around, or have still to pop your puppet cherry, it’s a hoot. First timers can expect to have their funny bones broken, let alone tickled, and for those returning to the show will delight in just how high the standard of this production is. They’ll also be reminded of just how tight and well written the rest of the show is outside of the songs and moments people tend to remember the most.

The only criticism is that it doesn’t feel as fresh anymore. With the original off-Broadway production pipping Team America to the post by a single year, sending up childhood staples in a humorous and X-rated haze has become more common place over the past decade. Therefore, this not as shocking as it was when the show was in its prime.

But overall, Avenue Q is as vulgar, foul mouthed, and outlandish as it ever was. You’d be a muppet to miss it!

Avenue Q runs at the Greenwich Theatre, London, until 11 May 2014. Tickets are £17-£25 (concessions available). To book, visit www.greenwichtheatre.org.uk. For more information about the show, and other touring dates, visit http://avenuequk.com.