Tag Archives: Andy Straw

Little Women
β˜…β˜…β˜…Β½

The Space

Little Women

Little Women

The Space

Reviewed – 6th December 2018

β˜…β˜…β˜…Β½

 

“the performances are committed and energised”


‘Little Women’ is a much loved classic, and Rachael Claye’s adaptation is deeply true to the spirit of its inspiration. Warm and human and familiar, this is a play about family, about growing up, about leaving and about coming back together. Four young women live with their mother, each yearning for different things. Amy is an artist, Jo a writer, Beth a carpenter and Meg wants to make a difference in people’s lives. We meet them as they begin to encounter the world, caught between child and adult.

The cast is consistently strong. Miranda Horn as Beth is particularly lovely, natural and bright onstage. Sean Stevenson’s Laurie is playful and likeable, Amy Gough as Jo is earnest and fervent. In fact across the cast, the performances are committed and energised, and the familial relationships feel nothing but genuine. Jonathan Hawkins as the quirky Professor is a vibrant late addition to the play.

The script captures well what is so brilliant about the book, the relationships and characters are well sketched. However whilst very strong in many ways, it suffers from indecision. The narrative is supposedly set in modern day Crouch End but the dialogue fluctuates back and forth, sometimes genuinely contemporary, in other moments far more mannered and of its time. The ages of some of the characters also seems confused. Stephanie Dickson as Amy, for example, has been directed to play quite young complete with pigtails and a bow in her hair but is simultaneously applying to art school, an incongruence which is not believable.

The show is also a little too long. There are a couple of scenes that are unnecessary, if lovely, and the end, equally is not needed. The image of Beth and Jo together for the last time, of ‘Little Women’ forming in Jo’s mind, is one of both sadness and hope, and I don’t think we learn anything further from the action that follows that. 

A Christmas classic, Claye’s 2018 adaptation of ‘Little Women’ is a charming joy to watch that just needs some tweaking to really situate itself.

 

Reviewed by Amelia Brown

Photography by Matthew Thomas

 

Little Women

The Space until 15th December

 

Last ten shows reviewed at this venue:
Be Born | β˜… | June 2018
Asking For A Raise | β˜…β˜… | July 2018
Bluebird | β˜…β˜…β˜…β˜… | July 2018
I Occur Here | β˜…β˜…β˜…β˜…β˜… | August 2018
Rush | β˜…β˜…β˜…Β½ | August 2018
Fleeced | β˜… | September 2018
Little Pieces of Gold | β˜…β˜…β˜…β˜…β˜… | October 2018
Love is a Work In Progress | β˜…β˜…β˜…β˜… | October 2018
The Full Bronte | β˜…β˜…β˜… | October 2018
Woman of the Year | β˜…β˜…β˜… | October 2018

 

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Bluebird – 4 Stars

Bluebird

Bluebird

The Space

Reviewed – 25th July 2018

β˜…β˜…β˜…β˜…

“viscerally funny, and celebratory too; a love affair with language, with London, and with the messiness of being human”

 

There couldn’t be a more apt time for The Space to stage Simon Stephens’ 2012 play, Bluebird – the action of which takes place over the course of a sweltering summer night in London. The stifling heat at the moment, together with the proximity of the actors in The Space’s intimate playing area, made us feel, as audience members, that we were truly sharing the night with the characters, in a way that only added to the emotional intensity of the evening.

The play revolves around Jimmy, a Mancunian writer turned cab driver. Simon Stephens sees that the cab driver takes on the role of confessor in the secular world of contemporary Britain, and as Jimmy criss-crosses London in his Nissan Bluebird, his fares divulge the secrets of their lives, and, each in their own way, struggle to make sense of the business of living. ‘Do you have any idea what it means – at all?’ asks fare number two, a genial joker with a beer in his hand; a question that resonates throughout, and is at its most unbearably poignant in relation to the central tragedy of Jimmy’s own life.

Although the play deals with irreparable loss, grief, and the immense and powerful everyday drama of the relationship between parent and child – recurrent Stephens themes all – it is also viscerally funny, and celebratory too; a love affair with language, with London, and with the messiness of being human.

The Space’s production – directed by Adam Hemming with a sure hand and a light touch – rightly keeps the language centre stage, and maximises the strengths of an immensely able cast, in order to create a powerful, funny and genuinely moving evening. A few of the transition sequences were a little clumsy, and a couple of performances required greater vocal control – with writing this good, you really don’t want to miss a word! – but these were tiny niggles in the face of some exceptionally good acting. Terrific, tight, well-observed and connected work from Jonathan Keane as Jimmy, Mike Duran as Robert and Adam Scott-Pringle as Richard, as well as a wonderfully warm and true performance from Felicity Walsh as Angela. Special mention must go, however, to Anna Doolan, for her heartbreaking portrayal of Jimmy’s wife Clare. It was an exceptional performance, and this reviewer wasn’t the only audience member to find herself in need of a hanky.

 

Reviewed by Rebecca Crankshaw

Photography courtesyΒ Space Productions

 


Bluebird

The Space until 4th August

 

 

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