★★★★

“we are being invited to a new kind of theatrical experience”

Claire Cunningham is a disabled artist, who performs on crutches. Predominantly known for her dance and choreography, in this affecting examination of journeys, she also draws upon her experience as a classical singer.

We begin in the lit studio, with beanbags and chairs on the stage, welcoming audience members to immerse themselves in the performance. A rumpled sheet bisects the floor, feeding into a thin AV screen, which projects surtitles and looped film. In the corner a mountain has been built with crutches, all intersecting like a molecular model or a climbing frame.

As the audience file in, Cunningham moves amongst the crowd, chatting amiably and encouraging everyone to get comfy. This sets the tone of the show – we are being invited to a new kind of theatrical experience, one which has accessibility woven into the fabric of the piece.

Cunningham welcomes us to the space and prepares us by demonstrating the extremes of light and darkness, silence and noise, making sure we know what to expect. There will be no sudden surprises.

It’s rare to feel so connected to a performer. It can also be rare to feel so relaxed and comfortable as an audience member. Cunningham’s warmth and acceptance is infectious.

As the show begins, we watch Cunningham blend physical theatre with snatches of spoken word poetry and the classical song cycle ‘Lieder eines fahrenden Gesellen’ (‘Songs of a Wayfarer’) by Gustav Mahler. Parts of this are mesmerising, her voice transcendent and movement captivating.

This is an ambling, exploratory show. It takes the theme of journeys and considers it through many lenses. There are performance breaks, ebbs and lulls which are both stylistic and physically necessary for Cunningham.

There are many different elements blending together. The projected film sees Cunningham’s feet and crutches navigating different terrain, as well as shots of waterfalls and running water. The spoken word element is recorded as voiceover, overlaying the performance with lyrical Scots. Choice phrases from the Mahler lyrics are projected on the floor, reminding us to slow down and to take our time.

The messaging of the show echoes within its form. It is meandering and soothing.

This won’t be a show for everyone, certainly the pacing may be too slow for some. There are patches where the energy drops a little, or where a moment lingers too long. Some of the meaning was a little murky, and there were elements that were not immediately clear.

However, as an exploratory piece of art it is undoubtedly beautiful. Cunningham’s voice is skin-tinglingly lovely and her physicality and innovative choreography are jaw dropping.

ENTERTAINING MURDER at Upstairs at the Gatehouse

★★★

“a compelling story, and the performances and music are engaging”

This musical, structured as a true crime podcast, tells the real story of Edith Thompson’s 1922 trial for the murder of her husband, by her lover. The central question of the play is how complicit was Edith in her husband’s death, and will she be found innocent or guilty of murder.

The story is salacious, Edith is trapped in a loveless marriage, unable to divorce, despite a passionate obsession with her young lodger. Her 62 love letters, filled with intimate sexual detail are read out at the Old Bailey, and she is set upon by the prurient tabloid press.

Writer and director Chris Burgess sees this as a ‘passionate and tragic love story’ though most of the colour is found in Edith’s sexual awakening, at the hands of the handsome young Freddy. The play presents their story as a great romance, but it is maybe more intriguing as a lustful triste that enables a crime of passion.

The choice to present this story as a true crime podcast feels under explored. It is used as a device for exposition, interrupting the songs with evidence-based narration. It also firmly emphasises when the dialogue is verbatim from the court transcript or Edith’s letters. Unfortunately, this has the effect of making the imagined scenes seem straight from a soap opera. The characters are thinly fleshed out, with nothing more than their circumstances presented. Edith is not explored enough to be unique, or especially interesting, beyond her raunchy fantasies.

All of the actors’ performances are rich and complex and it’s a shame they’re trapped in this ungainly format. Each performer sits on a stool behind a music stand. The Writer narrates and the others jump into centre stage to perform moments from the narrative. There are dance numbers, by movement director Robbie O’Reilly, which have a jazzy ‘Chicago’ feel and are too few and far between.

Daisy Snelson is mischievous and sensual as Edith. Her voice is incredible and her songs enchanting. The tragedy of her life is lacking a little, but through no fault of Snelson. Dominic Sullivan as Freddy is flirty and fun, and his passion is clear. As he performs the fit of jealousy that leads to the murder, he shows an impressive range and depth of emotion. When not actively performing though, he fidgets and giggles, which is a pity. Alex Cosgriff and Jude St James are jovial and energetic as the chorus, presenting the British Press, the various courtroom figures, and Cosgriff as Percy, the murdered husband. Sue Kelvin is criminally underused as the narrator. When she is allowed a moment to shine, she completely steals the stage, captivating the audience with her rich singing voice and witty asides.

The music saves this production. It is performed by musical director Isaac Adni, on the piano, whose energy and focus are infectious. Chris Burgess has worked with musical arranger Steven Edis to bring this varied and exciting music to life. There’s a nod to the 1920s period, but it doesn’t feel trapped in one genre or mood. Each number, be it moving ballad, sultry solo or peppy tune, allows the strength of the singers to shine.

It is a compelling story, and the performances and music are engaging, but the format is distancing, making the whole show feel ultimately meandering.

SONGS OF THE WAYFARER

Lilian Baylis Studio

★★★★

“we are being invited to a new kind of theatrical experience”

SONGS OF THE WAYFARER at Lilian Baylis Studio

Reviewed on 4th December 2024

by Auriol Reddaway

Photography by Sven Hagolani

More reviews from Sadler’s Wells’ venues:

SONGS OF THE WAYFARER

SONGS OF THE WAYFARER

ENTERTAINING MURDER at Upstairs at the Gatehouse

★★★

“a compelling story, and the performances and music are engaging”

ENTERTAINING MURDER at Upstairs at the Gatehouse

Reviewed on 27th November 2024

by Auriol Reddaway

Previously reviewed at this venue:

ENTERTAINING MURDER

ENTERTAINING MURDER