Tag Archives: Bread and Roses Theatre

Metamorphosis – 4 Stars

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Metamorphosis

Metamorphosis

Bread & Roses Theatre

Reviewed – 3rd October 2018

★★★★

“this highly original piece surpasses the usual version of events”

 

‘…at least, that’s how it should have happened.’

When the subject of a story is written about in a compelling, expressive, even beautiful manner, it is difficult to imagine that there could be any other aspect of the plot worth mentioning. Reading Franz Kafka’s “The Metamorphosis”, for example, it is hard to remember that the Samsa family have lives beyond obsessing over their son Gregor – a former travelling salesman who is now a giant insect. To be fair this is a pretty gripping plot; nonetheless, it leaves questions that are long overdue answers.

In this thought-provoking reimagining of Kafka’s tale, Sam Chittenden proposes and skilfully answers the question – “Who is Grete Samsa?” By her own admission, Grete’s role in the story is very much, ‘the sister did this, the daughter did that’. But who is she beyond this? For Chittenden, she is a young girl undergoing a transformation as dark and difficult as that of her brother: puberty. Simultaneously, the two siblings face the feeling of waking up in a new body, of being changed and looked at with newfound fascination. The only difference is that, unlike her brother, Grete must endure it unsupported, unnoticed, and unloved.

“The Metamorphosis” has been retold countless times; this highly original piece surpasses the usual version of events. Chittenden’s script is engaging and cleverly uses aspects of the original story in new and effective ways. She uses the concept of a grotesque transformation to explore the feelings of adolescent girls as their bodies change. This shift in identity (from girl to woman) is no less daunting than the prospect of waking up and finding yourself changed into an insect or animal: both displace stability and lead to confusion, hurt, and anger. Simultaneously, Chittenden keeps Kafka’s tale in focus, drawing engaging portraits of the entire Samsa family and generally refining areas that were neglected in the original.

Grete is effortlessly bought to life by Heather-Rose Andrews. Andrews effortlessly transitions between the adult and adolescent Grete, vocally and physically capturing their respective emotional cores with ease. One moment she has the audience suspended in rapture as she details a horrific instance of sexual assault; the next, her tone is light and frivolous as she mocks her parents’ inability to notice anything beyond their son’s predicament. The unfussy set – Gregor’s briefcase sits downstage, Grete’s bed upstage – allows Andrews to weave her way through the space uninterrupted, and the small moments of physical theatre add some accents of Kafkaesque absurdity. Unfortunately, the persistent music sometimes undermines the subtly of Andrews’ performance. She is more than capable of portraying the emotional depth that this piece requires of her, and it is a shame that the music artificially attempts to do this on her behalf.

Metamorphosis is a polished and beautifully executed show which deserves a much wider audience. Not only is it an enjoyable piece of theatre, but it adds to the conversation surrounding Kafka’s work and asks important questions of this iconic and much-interpreted story.

 

Reviewed by Harriet Corke

 


Metamorphosis

Bread & Roses Theatre as part of the Clapham Fringe Festival

 

Previously reviewed at this venue:
Austen The Musical | ★★★★ | January 2018
Blue Moon | ★★★ | January 2018
F*ckingLifeMate | ★★★★★ | March 2018
Talos II | ★★★ | March 2018
The Buzz | ★★★ | May 2018
Once a Year on Blackpool Sands | ★★★★ | June 2018
Richard II – Shakespeare | ★★ | August 2018

 

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

 

 

Richard II – 2 Stars

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Richard

Richard II

Bread & Roses Theatre

Reviewed – 22nd August 2018

★★

“this production forgoes the emotional depth of the play and instead gives a simplistic rendition that shies away from the exploration of character”

 

I once had the misfortune of taking a three hour long Shakespeare exam. It’s not something I’d recommend – but even I will admit that it taught me a few important lessons about Shakespeare’s plays. Namely, that they are a) long, b) many, and c) so complex that analysis of a single scene yields more meaning than can be written down in three hours.

Richard II, though lesser known, is no less interesting to examine than Hamlet or Macbeth, and really deserves more exposure. It’s a shame, therefore, that Joshua Jewkes’ contemporary reimagining does not bring any of its many layers to life. Ostensibly set in the vague world of ‘the modern political landscape’, it follows the demise of King Richard as years of flattery begin to weaken his leadership. His decision to banish his cousin Henry Bolingbroke and reignite conflict in Ireland spark a revolution which is led by friend and foe alike. Though he is undoubtedly vain and tyrannical, the political drama that follows exposes Richard’s vulnerability and, ultimately, his sympathetic nature.

The immediate problem with this production is that this vulnerability is not apparent. Joshua King, who plays Richard, seems somewhat miscast in the role: whilst he does capture Richard’s brazen overconfidence, he does not bring any emotional depth. Richard seems one dimensional, and King’s overhasty delivery means that important moments are almost unnoticeable. The empathetic aspects of his character are never properly expressed; there is no one to truly empathise with.

A second difficulty is presented by the fact that the lines rarely sound meaningful. Too often it sounds as though the actors are reciting words that they have memorised as opposed to expressing the genuine thoughts of a character. Very few of the cast escape this trap, but luckily there are some solid performances which help alleviate these uninspired moments. Melanie Beckley is commanding and powerful as Bolingbroke, whilst Peter Hardingham captures the thoughtful wisdom of John of Gaunt, Henry’s father, very well. But the only consistent performance comes from Hannah Victory as the Duke of York. Victory is utterly convincing throughout, and her impassioned delivery brings the high stakes that are missing elsewhere.

Some aspects of Jewkes’ production do work well. The stage, lined with audience on both sides and bare except for a raised platform, evokes the atmosphere of a claustrophobic court or council chamber. The space is used efficiently, particularly during the well-choreographed and well-executed fight scenes. Jewkes also adapts the text effectively. About an hour is cut from the play’s run time, but the plot is still easy enough to follow and the characterisation is clear and consistent. Ultimately, however, this production forgoes the emotional depth of the play and instead gives a simplistic rendition that shies away from the exploration of character. There are some enjoyable moments, but they are too few and far between truly bring the play or its characters to life.

 

Reviewed by Harriet Corke

 


Richard II

Bread & Roses Theatre until 25th August

 

Related
Previously reviewed at this venue
Blue Moon | ★★★ | January 2018
Austen the Musical | ★★★★ | January 2018
F*ckingLifeMate | ★★★★★ | March 2018
Talos II | ★★★ | March 2018
The Buzz | ★★★ | May 2018
Once a Year on Blackpool Sands | ★★★★ | June 2018

 

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