Tag Archives: Amelia Brown

First Date

First Date

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Online

First Date

First Date

Online stream from Crazy Coqs

Reviewed – 22nd October 2020

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“the memorable songs and the impressive performances carry this funny and relatable take on the dating world”

 

The year is 2020, a pandemic has turned singletons everywhere horny (sound familiar?), and the musical ’First Date’ is here to find out if we can still believe in love!

In the Crazy Coqs bar we meet Aaron (Simon Lipkin) and Casey (Samantha Barks) on a blind date and setting eyes on each other for the first time. Queue a series of fantastically funny songs alighting on all the truisms of first dates from the friend you have lined up to fake an accident to the awkward pauses and who pays the cheque at the end of it all! The pair navigate small talk and their differences, to see whether this could be something. Our two daters are surrounded by a fantastic chorus who pop-up Grecian-esque as bartenders, exes, bad boys and even Google embodied!

The songs, written by Alan Zachary and Michael Weiner, are consistently brilliant. There are cabaret numbers, comedy numbers, ballads, duets and a lovely five-person opening. Accompanied by a live piano, the songs are well-written, well-sung and all great fun! The script (Austin Winsberg) between songs, however, is not up to the standard of the song writing at all. Whilst there’s some promise in there, it is overly long and slow, and needs some serious tightening up to meet the quality which is so evident in the lyric writing.

The cast are really strong, directed by Dean Johnson. They all boast fantastic voices, brought together with musical direction from John Winstone. Barks and Lipkin sing wonderfully, working hard on a slow script, although lacking in chemistry between them. Some favourite characters in the panopoly that the chorus play include Nick McLean’s Reggie and Danielle Steers’ dead grandma! The shining star of the whole show is Oscar Conlon-Morrey who is irresistibly funny in every role he plays: a feast to watch, even when he is just making comments during the internal (a lovely touch). I could’ve watch him all day.

Unfortunately the quality of the music and performers is let down by the audio (Matt Ide) and videography (Sam Diaz) quality, both of which are wildly inconsistent, so much so that they are disruptive to the piece*. The green screen backdrops are really fun and work really well, but in the space itself the lighting is bizarre and doesn’t respond to lighting changes mentioned in the script, silence buzzes, and it would be impossible to watch this through without regularly adjusting the volume up and down on your television or laptop. Given that it is presented like a film, it needs to have the basic production values of one. It is such a shame, given the quality of the actors and the material.

Production quality aside, the memorable songs and the impressive performances carry this funny and relatable take on the dating world.

 

Reviewed by Amelia Brown

Photography courtesy Lambert Jackson

 

* This show was reviewed on an advance link so sound and video quality may be improved on the released production

 


First Date

Online stream from Crazy Coqs

 

Last ten shows reviewed by Amelia:
Germ Free Adolescent | β˜…β˜…β˜…β˜… | The Bunker | October 2019
Before I Was A Bear | β˜…β˜…β˜…β˜…β˜… | The Bunker | November 2019
I Will Still Be Whole (When You Rip Me In Half) | β˜…β˜…β˜…β˜… | The Bunker | November 2019
My White Best Friend And Even More Letters Best Left Unsaid | β˜…β˜…β˜…β˜… | The Bunker | November 2019
Potted Panto | β˜…β˜…β˜…β˜… | Southwark Playhouse | December 2019
The Girl With Glitter in Her Eye | β˜…β˜…Β½ | The Bunker | January 2020
Essence | β˜…β˜…Β½ | The Vaults | February 2020
Flights | β˜…β˜…β˜…Β½ | Omnibus Theatre | February 2020
Maliphantworks3 | β˜…β˜…β˜…β˜…β˜… | The Coronet Theatre | February 2020
Globaleyes | β˜…β˜…β˜…β˜… | Online | September 2020

 

Click here to see our most recent reviews

 

Globaleyes

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Chickenshed Theatre Online

Globaleyes

Globaleyes

Chickenshed Theatre YouTube Channel

Reviewed – 25th September 2020

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“the whole piece is a show of inspiring collective effort”

 

Three panels hang above the stage projecting footage of the earth. Beneath them facts about the rainforest and overpopulation arrive on the back wall in orange and then disappear. One by one people begin to sing of β€œThe Earth and I” as the stage brightens. Then it is all change. The warm reds and long notes transform into a blue stage which people speed across, an indication of the pace of the modern world. Bodies are packed together, moving herd-like.

This is the impactful opening of β€˜Globaleyes’, a contemporary physical theatre work tackling the vast subject of globalisation. Across the course of the performance the dances focus on climate change, poverty, displacement, war and slave labour – hardly a small task. The show originated in 2002, and this recording, which Chickenshed are streaming in response to the impact of Covid-19 on theatres, is of the 2013 production. It features Chickenshed’s company members, 200 Chickenshed students and members of their adult theatre group in a refreshingly diverse ensemble of performers.

Globaleyes features a range of performance styles, some closer to dance, others more in the realm of physical theatre, some solo performances, some unison ensembles. This variety of styles, as directed by Christine Niering with Jonathan Morton and Louise Perry, shaped and defined each of the different themes. In a particularly strong number, two sets of two performers are tied together, turning each duet into many-limbed single beings which create spider-like shapes across the stage.

Changes in light and sound also dictated each new phase of the piece. Branches projected across hanging fabric (set construction by John Mann) are accompanied by incredibly tranquil music. Performers are turned into a homogenous silhouette by light. Sometimes music is interrupted by audio snippets from news reports and politicians speaking, including notably a speech that was made at Martin Luther King’s funeral. The hanging screens display a range of footage, historical and custom-made, to highlight the themes of each number. Both light design, sound design and music are vital to this piece, and Andrew Caddies (lighting design), Phil Haines (sound design) and Dave Carey (Musical Director) do a fantastic job of creating each new atmosphere.

Some of the scenes offer more impact and more clarity than others. Certain sections feel overly long without delving as deep as they could into the topic they are tackling. The challenges of creating a piece that has such a broad focus is apparent at times.

But from the creative team to the performers onstage, the whole piece is a show of inspiring collective effort. Watching this seven years on from when it was filmed, the continued resonance of the themes is clearly evident. The final message of Globaleyes is one of hope in the possibility of change and the power of community.

 

 

Reviewed by Amelia Brown

Photography by John Pridmore

 


Globaleyes

Chickenshed Theatre YouTube Channel

 

Last ten shows reviewed by Amelia:
Afterglow | β˜…β˜…Β½ | Waterloo East Theatre | October 2019
Germ Free Adolescent | β˜…β˜…β˜…β˜… | The Bunker | October 2019
Before I Was A Bear | β˜…β˜…β˜…β˜…β˜… | The Bunker | November 2019
I Will Still Be Whole (When You Rip Me In Half) | β˜…β˜…β˜…β˜… | The Bunker | November 2019
My White Best Friend And Even More Letters Best Left Unsaid | β˜…β˜…β˜…β˜… | The Bunker | November 2019
Potted Panto | β˜…β˜…β˜…β˜… | Southwark Playhouse | December 2019
The Girl With Glitter in Her Eye | β˜…β˜…Β½ | The Bunker | January 2020
Essence | β˜…β˜…Β½ | The Vaults | February 2020
Flights | β˜…β˜…β˜…Β½ | Omnibus Theatre | February 2020
Maliphantworks3 | β˜…β˜…β˜…β˜…β˜… | The Coronet Theatre | February 2020

 

Click here to see our most recent reviews