Tag Archives: Aoife Kennan

C-O-N-T-A-C-T

★★★★

Various London Locations

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C-o-n-t-a-c-t

C-O-N-T-A-C-T

London – Central

(Various London locations are available)

Reviewed – 4th September 2020

★★★★

 

“feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic”

 

C-o-n-t-a-c-t is an outdoor immersive promenade production, that takes place on the edge of the river, five minutes from Monument tube (other locations are available). Plugged into headphones, through a previously downloaded app (all very simple, and efficiently handled by the facilitator, who we meet 10 minutes before the production begins), the audience hears the thoughts and conversation of the two characters, one of whom we are instructed to follow.

The concept is a simple one, and reminiscent of Wim Wenders’ masterwork Wings of Desire: a guardian angel is on earth in human form, and he has appeared in order to help a young, lost and grieving woman get over the death of her father. Written by Eric Chantelauze, it is a delicate 50 minute reflection on grief. In Quentin Bruno’s English adaptation, the writing is predominantly colloquial and straightforward, with occasional excursions into a slightly more meditative realm, and for the most part works well, though an unfortunate last minute detour into Latin does feel hackneyed and unnecessary. Max Gold, as the angel Raphael, fails to convince in this instance, and the grandeur of the language reduces, rather than enhances, his angelic aura.

This was a rare jarring moment however. Samuel Sené (director and creator of the original production, along with Gabrielle Jourdain) has put some lovely subtle movement sequences in place within the characters’ walk together, and there are many moments of gentle beauty, particularly in Laura White’s performance as Sarah, which seamlessly embodies Aoife Kennan’s spoken narrative. The atmosphere is also hugely enhanced by Cyril Barbessol’s contemplative, melodic piano, which is a continuous musical thread throughout the piece, and works brilliantly under a London sky and against the grand, ceaseless flow of the Thames.

In these strange and pretty desperate times for live theatre, C-o-n-t-a-c-t feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic on a September evening. Highly recommended.

 

Reviewed by Rebecca Crankshaw

Photography by Pamela Raith

 


C-O-N-T-A-C-T

Various London locations until 4th October see www.contactshow.co.uk for full details

 

Previously reviewed this year by Rebecca:
Dadderrs | ★★★ | The Yard Theatre | January 2020
In A Way So Brutal | ★★★★ | The Yard Theatre | January 2020
Santi & Naz | ★★★ | The Vaults | January 2020
The Maids | ★ | Hen & Chickens Theatre | January 2020
Tom Brown’s Schooldays | ★★ | Union Theatre | January 2020
Ghost Stories | ★★★ | Theatre Royal Brighton | February 2020
Since U Been Gone | ★★★★ | The Vaults | February 2020
The Fourth Country | ★★★★★ | The Vaults | February 2020
The Tin Drum | ★★★★ | The Coronet Theatre | February 2020
Henry V | ★★★★ | The Barn Theatre | March 2020
Superman | ★★★½ | The Vaults | March 2020
Fanny & Stella | ★★★★ | The Garden Theatre | August 2020

 

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4th Country

THE 4th COUNTRY

★★★★★

VAULT Festival 2020

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The 4th Country

The 4th Country

Crypt – The Vaults

Reviewed – 12th February 2020

★★★★★

 

“An exceptional piece of work. Ambitious in scope and powerful in achievement”

 

‘Misunderstood, neglected and under-reported, Northern Ireland is just across the water but feels a million miles away’. These are the opening words on the show information laminate in the Crypt, where this show is staged. Appropriately enough, the Crypt is the Vaults stage that feels the furthest away from the main action, reached, as it is, by walking through a large bar, leaving the building altogether, and re-entering. I wonder whether this was deliberate. It wouldn’t surprise me, as this is a meticulous piece of theatre, with an ambitious script in which every word counts.

Writer Kate Reid has grabbed Northern Ireland by the balls, and is fearless in her intent. She addresses the big issues head on – both past and present – from Bloody Sunday, to the abortion law, to the power vacuum in Stormont, but without sacrificing the intimate personal truths which make all great drama lift from the page. Her characters live and breathe, and we care what happens to them. This is in no small part down to the skill of the acting ensemble. Kate Reid acts in the show too, joined by Aoife Kennan, Cormac Ellliot and Rachel Rooney, and there is not a weak link in the chain. This is performing of the highest quality – skilled, muscular, nuanced – and transports the audience into the various worlds of the play on the flip of a coin; all the more skilful when the scenes are presented within a meta-structure which lays the show’s theatricality bare. And what a joy to watch a piece of theatre in which this meta-structure has real purpose, and so brilliantly serves the content!

Gabriella Bird’s direction is perfect in this regard and could so easily be overlooked. It too seamlessly serves the narrative, allowing the actors to move freely through the space in such a way that the audience is continually stimulated but never distracted. This takes a great deal of skill. West End practitioners take note! There was no Sound Designer listed to credit, but the subtle sound design added to the whole, as did Catja Hamilton’s unobtrusive lighting.

The 4th Country is an exceptional piece of work. Ambitious in scope and powerful in achievement. As the two women who left the Crypt in tears last night would testify.

 

Reviewed by Rebecca Crankshaw

 

VAULT Festival 2020

 

 

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