Bread and Roses Theatre Archives - Page 7 of 18

A Trilogy of One-Woman Plays:

Just to sit at her Table, Silver Hammer and Mirabilis

★★★

Bread and Roses Theatre

Reviewed – 10th April 2019

“there are nuggets of likeable characters, dark comic wit and new voices that give the show its unusual energy”

Matthew Lyon brings us three female monologues, interwoven among each other and covering topics from female psychopathy to spiritual anorexia. Each monologue is cut and scattered on top of the others as the show tries to pull the characters closer together. While there’s no direct interaction between the actors, their physical presence on stage naturally assumes a connection, and the viewer reads each in the context of the others. This mosaic adds complexity but introduces confusion.

The first to speak is Sadie (Tayla Kenyon), a 21st-century spelling pedant and sex worker. Sadie speaks directly to the audience and is fully aware that she is on stage. Carly (Ellen Patterson) and Laura (Sirelyn Raak) follow. Carly is engaging and complex as she recounts various murders she has committed with the intensity and the attitude that makes me think she might be the Patrick Bateman for the #MeToo era. Lastly, Laura is the most cryptic of the three. She is said to be suffering from Anorexia Mirabilis, a version of the eating disorder stemming not from beauty standards but instead from a constant seeking of God.

While each monologue on their own makes sense, together they’re a stool with different length legs. At times, the seat seems to sit flat with the women complimenting each other, but more often than not there is a struggle to grasp what binds the threads together (other than their shared author). There were some excellent candidates for unifying themes; alcoholic parents, hedonism, or self-gratification. But, none quite fit properly, and the stool ended up a little lopsided.

The acting is technically very sound from all three. There’s little development throughout the evening, but each of the women on stage brings something different to the piece. The set and lighting are minimal in the incredibly cosy Bread and Roses Theatre. Pulsating coloured lights give elements of the show a dreamlike setting and the catwalk setup provides the actors with the space where they need.

Ultimately, these neat characters perish in their embrace. Presented alone they make sense, but spliced together the audience member is left lost without a clear message. Nevertheless, there are nuggets of likeable characters, dark comic wit and new voices that give the show its unusual energy.

Reviewed by William Nash

A Trilogy of One-Woman Plays

Bread & Roses Theatre until 13th April

Last ten shows reviewed at this venue:

Once a Year on Blackpool Sands | ★★★★ | June 2018

Richard II | ★★ | August 2018

Like Lions | ★★★★ | October 2018

Metamorphosis | ★★★★ | October 2018

Testament | ★★★★ | October 2018

The Enemies | ★★★ | October 2018

The Gap | ★★★★ | October 2018

Baby Blues | ★★★ | December 2018

A Modest Little Man | ★★★ | January 2019

Two Of A Kind | ★★★ | January 2019

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

A Modest Little Man

Bread and Roses Theatre

Reviewed – 17th January 2019

★★★

“a thought-provoking piece that is distinctly aware of the importance of remembering the past in difficult political climates”

Clement Attlee was described as a ‘little mouse’ (Hugh Dalton), a man that had ‘no natural presence’ (Sir Alan Lascelles). It seems difficult, therefore, to make a play out of his life. But it is not impossible and it seems important to try. On the eve of the destruction of it, this timely play tracks how such an unusual man came to power and set up the Welfare State. Written by his biographer, Francis Beckett, the play is full of fascinating historical detail and cutting one-liners even when it falters in the drama.

The piece unfortunately lacks momentum, rendering the emotional tone unchanging. The most poignant moment is saved for the end, for Attlee’s final speech which resonates in its simplicity and resolve. It seems an enormous challenge to get underneath Attlee’s quiet modesty. What the play loses in pace, it gains in gradually establishing Attlee’s personality.

Roger Rose’s Attlee is appropriately subtle, with small but significant movements that bring the character to life. Lynne O’Sullivan plays Violet Attlee, who also narrates the story and does a wonderful job of holding the piece together with empathy and humour. Clive Greenwood’s performances as King George VI, Nye Bevan and Ernest Bevin are particularly enjoyable and dynamic.

Though the lights could be a little glaring, Owain Rose’s direction is uncomplicated and effective. The modest table and chairs makes for a stage that concentrates on the story and the characters’ relationships. The cast generally hold the array of characters well, though there are a few accents out of place and the odd forgotten line. Indeed, the highlights of the play are when the cast are onstage together, debating about how to negotiate the creation of the National Health Service and other nationalisation plans against the tide of criticism and financial difficulties.

Beckett’s text struggles to make a drama out of Attlee’s career. What it does instead, is make an important and admirable political commentary. Beckett’s writing does not attempt to romanticise the post-war period which so many other writers have. There are clear allusions to Corbyn and a fearless criticism of a class prejudices that are, clearly, very relevant today. This is a thought-provoking piece that is distinctly aware of the importance of remembering the past in difficult political climates.

Just to sit at her Table, Silver Hammer and Mirabilis

★★★

Bread and Roses Theatre

Reviewed – 10th April 2019

“there are nuggets of likeable characters, dark comic wit and new voices that give the show its unusual energy”

Ultimately, these neat characters perish in their embrace. Presented alone they make sense, but spliced together the audience member is left lost without a clear message. Nevertheless, there are nuggets of likeable characters, dark comic wit and new voices that give the show its unusual energy.

Reviewed by William Nash

A Trilogy of One-Woman Plays

Bread & Roses Theatre until 13th April

Last ten shows reviewed at this venue:

Bread and Roses Theatre

Reviewed – 17th January 2019

★★★

“a thought-provoking piece that is distinctly aware of the importance of remembering the past in difficult political climates”

Reviewed by Tatjana Damjanovic

Photography by Mark Thomas

A Modest Little Man

Bread and Roses Theatre until 26th January

Last ten shows reviewed at this venue: