Reboot: Shorts 2

The Bunker

Reviewed – 15th October 2018

★★★★

“a show that demonstrates the diversity, vitality and ambition of young theatre-makers”

Shorts 2 is the second night of new writing produced by Reboot Theatre Company. With the use of simple staging, committed performances, and six of the best short plays selected from hundreds of submissions, Reboot (along with director Nico Pimparé) present a promising glimpse of a new generation of playwrights.

The show opens with Cradle, based on the deceptively simple premise of a couple (played by Faidon Loumakis and Athena Bounti) drifting apart. But, like the new Mercedes sitting proudly in their driveway, this is simply a cover, one that writer Sascha Moore slowly strips away to reveal a harrowing story of loss. The plot is layered and complex – surprisingly so considering its length – and Bounti’s performance is captivating.

It’s a hard act to follow, but The Answer is more than capable of doing so. It’s 1973, and Clive (Tom Blake) is taking a step into the future by purchasing an “ansafone”; his wife Jenny (Rachel Brown) thinks it’s a step too far. Tom Glover expertly satirises our age-old obsession with the latest must-haves. The writing and performances are witty, self-assured, and a great contrast to Moore’s tension-laced opener.

Kiss Kiss by Lily Shahmoon follows co-workers whose affair begins at completely the wrong time. They only have a few more months together before Hayley, who is pregnant, must retreat into stability. Shahmoon has created a sweet and endearing love story, and gives it a twist by presenting it entirely through text messages. Bounti and Michael Waller have great chemistry as Hayley and Chris, but important moments sometimes feel rushed.

Laura Harper’s Vermin opens the second half: whilst not as strong of an opener as Cradle, it is an intriguing premise that is well-executed. Lucinda and Ash are in pursuit of a fox. He wants to prove his usefulness to the resistance, she to gain access to the upper echelons of society. Harper’s piece is sinister, but its swift pace sometimes hinders our understanding of her dystopian world.

After a string of two-handers, Harry ter Haar’s Cheating unites four of the five actors to discuss the meaning of this act. Nick (Blake) announces in the middle of dessert that his wife is cheating on him…but is she? What follows is an absurd unravelling of the concept of “cheating” that impressively combines humour and high stakes. As in The Answer, Blake steals the show with his comic timing.

The final piece, Candy, is a monologue that rounds off a balanced programme. Will (Waller) is not the sentimental type, but a chance encounter with the woman of his dreams transforms his outlook. The piece is somewhat predictable and you can see the ending coming, but this does nothing to devalue Tim Fraser’s well-rounded exploration of character. Waller is likeable and engaging, drawing the audience in and effortlessly keeping them engaged.

Reboot have clearly worked hard to showcase a variety of forms and perspectives. The result is a show that demonstrates the diversity, vitality and ambition of young theatre-makers.

Reviewed by Harriet Corke

Photography by Ali Wright

Reboot: Shorts 2

The Bunker

Previously reviewed at this venue:

Devil With the Blue Dress | ★★ | April 2018

Reboot:Shorts | ★★★ | April 2018

Libby’s Eyes | ★★★★ | June 2018

Nine Foot Nine | ★★★★ | June 2018

No One is Coming to Save You | ★★★★ | June 2018

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production”

Iris Theatre presents a new, pertinent version of the ‘Arabian Nights’, turning Hoxton Hall into a wonderland of illusion. Rich colours, masks, puppets, dance and music blend and fuse with the narration to take us on a familiar journey, but down a different path. Nessah Muthy’s heartfelt rewriting of this centuries-old treasure adapts the framework of the story to show the strength and independent minds of women. King Shahryar finds revenge for his wife’s unfaithfulness by marrying a new wife every day and killing her the following morning. When he decides to marry Dunzayad, his young servant, her older sister, Sharazad, uses her gift of storytelling to buy time and save her. In doing so, she gradually sees behind the king’s brutal façade and challenges him, questioning her own feelings as well. Muthy also adds clever twists of gender within the tales, giving them a modern relevance.

Director, Daniel Winder, masterfully interprets the script with art and inspiration. Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production. The lighting (Ben Polya) and sound (Filipe Gomes) add magical and dramatic effects and a constant stream of additional details holds our attention – Amber Scarlett’s resourceful set design, evocative music and dance (Sonum Batra and Nour Alkawaja) and colourful costumes by Maddy Ross-Masson.

The well-chosen, multi-cultural cast poignantly reflects the rich origins of the ‘Arabian Nights’. The six actors cover a multitude of roles as well as manipulating the puppets with dexterity, allowing us to enjoy the fantasy. We not only hear of Ali Baba and Sinbad; brothers and sisters, princesses, husbands and wives, sailors, kings and queens and animals all play their part in recounting adventures, myths and morals. There are varied and vivid performances from Ikky Elyas and Maya Brittoa, Hemi Yeroham’s comic flair, Pravessh Rana’s powerful presence on stage, Izzy Jones’s portrayal as the spirited sister and a special mention for Sharon Singh as Sharazad, who elegantly holds the main plot together with the many narrative diversions.

The first half of the show takes a while to flow. Once we break through the slightly ‘theme park’ feel of the repetitive, pre-show piped music, the imitation stone of the set (from the audience’s close proximity) and the initial impact of the broad acting, we can appreciate the huge amount of thought, work and talent. It is neither a children’s show nor more suitable for adults; seemingly, it has something for everyone. And, at two and a half hours long, there is plenty of time to find it.

Reviewed by Joanna Hetherington

Photography by Ali Wright

Reboot: Shorts 2

The Bunker

Reviewed – 15th October 2018

★★★★

“a show that demonstrates the diversity, vitality and ambition of young theatre-makers”

Reboot have clearly worked hard to showcase a variety of forms and perspectives. The result is a show that demonstrates the diversity, vitality and ambition of young theatre-makers.

Reviewed by Harriet Corke

Photography by Ali Wright

Reboot: Shorts 2

The Bunker

Previously reviewed at this venue:

Arabian Nights

Hoxton Hall

Reviewed – 19th September 2018

★★★★

“Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production”

Reviewed by Joanna Hetherington

Photography by Ali Wright

Arabian Nights

Hoxton Hall until 13th October

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Previously reviewed at this venue