Tag Archives: Adeline Waby

Tender Napalm

Tender Napalm

★★★★★

King’s Head Theatre

 Tender Napalm

Tender Napalm

King’s Head Theatre

Reviewed – 28th October 2021

★★★★★

 

“it somehow speaks of the horror and confusion of trauma, unflinching love in the face of howling pain, and above all, it’s incredibly playful and funny and sweet”

 

Having read his books as a kid and studied his plays in college, seeing a Philip Ridley play at a pub theatre in Angel seems absolutely mad to me. Like having Michelle Roux working at your local caf, or Radiohead doing a gig in your neighbour’s basement. That said, the Kings Head is no ordinary pub theatre, and Philip Ridley no ordinary playwright.

And, stubbornly transgressive as he is, it seems entirely apt that in Ridley’s latest production, at moments of palpable, almost violent silence, you can hear a faint R n’ B playlist, glasses clinking and raised voices trickling in from the bar behind.

The design (Kit Hinchcliffe) is tantalisingly bare: a shiny white floor and plain white backdrop, along with costumes of white tops and grey trousers. No furniture or small props or even a button on a cardi to fiddle with. Just two characters, Man and Woman, and their rich, almost impenetrable fantasy existence.

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I feel myself putting off talking about the actual play itself because I don’t really know how to describe it. At once a game of ‘Fantasy Yes’- we’ve been shipwrecked, says man. Yes, with only hundreds of monkeys for company, says woman. Yes, except that time a giant serpent came and ate me whole and I stabbed it to death from the insides, says man. Yes, says woman, that was my great, great aunt, and I too have serpent blood in me. Yes, well, says man, I’ve led aliens into battle against their enemies, and so the monkeys think I am the messiah. And so on. This, spliced with intensely sexual but equally opaque talk of lubricated grenades and castrating garden sheers, and a surprisingly normal story about an eighteenth birthday party, makes up this seventy-minute straight-through. Despite this sounding unbearably inaccessible, through its opacity, it somehow speaks of the horror and confusion of trauma, unflinching love in the face of howling pain, and above all, it’s incredibly playful and funny and sweet.

In his programme notes, director Max Marrion talks about how skilled our two principals, Adeline Waby and Jaz Hutchins, are at dealing with Ridley’s particular flavour of language, story and imagery. This is mildly put considering their ability to express both humour and passion in this otherwise abstruse text. They embody both the poetic and the realistic; unafraid to be ridiculous, fighting with invisible swords, jumping from one invisible rock to the next, giving each other explosive orgasms with grenades. Equally, they’re two awkward teenagers getting ready for a party, nervously flirting and dancing like idiots. Their chemistry is complicated; it feels full of experience and genuine intimacy.

Ben Lerner once said of John Ashbery’s poetry that while reading, “they always felt as if they were making sense, but when you looked up from the page, it was impossible to say what sense has been made.” I’d say the same of Tender Napalm. There’s no way for me to convey its message, except to tell you to see it and try to explain it yourself.

 

Reviewed by Miriam Sallon

Photography by Mark Senior

 


Tender Napalm

King’s Head Theatre until 20th November

 

Other shows reviewed this year by Miriam:
Aaron And Julia | ★★½ | The Space | September 2021
Tarantula | ★★★★ | Online | April 2021
My Son’s A Queer But What Can You Do | ★★★½ | The Turbine Theatre | June 2021
Lava | ★★★★ | Bush Theatre | July 2021
Reunion | ★★★★★ | Sadler’s Wells Theatre | May 2021
The Narcissist | ★★★ | Arcola Theatre | July 2021
White Witch | ★★ | Bloomsbury Theatre | September 2021

 

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Bin Juice

★★★★

VAULT Festival 2020

Bin Juice

Bin Juice

Cavern – The Vaults

Reviewed – 12th March 2020

★★★★

 

“Cat Kolubayev has written an extremely funny piece that keeps you guessing”

 

VAULT Festival continues to throw up the most varied content.

Bin Juice starts off with two ladies who work for a hazardous removal company, interviewing for a new employee. But this waste collection unit does not pick up empty Domino’s boxes, their waste is a lot more sinister, with human bodies requiring disposal.

The Cavern theatre, with its brick walls, high ceiling and resident echo, cannot help but be eerie. Lighting (Holly Ellis) is well designed, as is the sound (Tingying Dong). The audience seating is arranged like opposing church pews facing off against each other, with the performance space in the middle. Director Anastasia Bruce-Jones does a tremendous job in moving the cast around this space for the benefit of all the audience. The set comprises of a couple of small tables and chairs with a black rubbish bag sitting centre stage.

Adeline Waby as Francine drives the action along and is strongest in the opening interview scene. I would like her to have slowed down her delivery ever so slightly, to avoid crucial words not being picked up. Madison Clare is her sidekick Marla, her facial expressions and comic timing were spot on. She was the highlight of the show for me and the story detailing her mother’s demise and explaining her crush on Captain Birdseye were a delight. Helena Antoniou as Barney/Belinda makes up the trio. She is a complex, multi-layoured character that you can’t quite make out. What exactly is her story and why does she wear a turtle neck in hot weather? A very interesting and solid performance.

Cat Kolubayev has written an extremely funny piece that keeps you guessing and you can’t help but be drawn in by the plot. Only in the second scene, did I feel that the pace dipped slightly.

I’m not the greatest fan of black comedy and I worried that this might be distasteful. Instead I found it rather charming and yet slightly unsettling at the same time.

Here we witnessed an example of excellent team work. Every single member of the crew and cast did their job with flair and precision timing, in a very slick production.

I’m off to buy some vegetables from a Lincolnshire farm, I hear they taste great.

 

Reviewed by Chris White

Photography by Lidia Crisafulli

 

VAULT Festival 2020

 

 

Click here to see all our reviews from VAULT Festival 2020