Camden Fringe 2019 Archives - Page 9 of 16

All the Little Lights

Tristan Bates Theatre

Reviewed – 12th August 2019

★★★★★

“The brilliant writing and Hannah Calascione’s contained intensity in the direction are powerfully compelling”

Lisa was best at playing ‘All the Little Lights’. She and Joanne would look out at the lit-up windows of distant homes, and imagine the ‘ordinary’ lives of other people. Once close friends but suddenly torn apart, Joanne, with newcomer Amy in tow, has organised a birthday celebration for Lisa, by the railway track. A triangle of complicity tangled up in the net of child sexual exploitation, Lisa is determined to cling on to her fresh start, while Joanne must survive the only way she can – Amy becomes the victim. Jane Upton’s play opens our eyes to the innocence and vulnerability of children who are all around us; their need for security, protection and affirmation is both ignored by those who should give it and taken advantage of by those who shouldn’t. It is distressing to witness their acceptance of dreams and prospects which have been stolen and happiness reduced to a bag of chips in exchange for sex, but Upton balances this with the humour and fun of teenage friendship and youthful spirits.

The three actors embody different aspects and consequences of abuse, pulling us into their complex dynamics of familiarity, unease and fear, with strong, absorbing performances. Erin Mullen portrays the painful wariness of Lisa, frightened to show the closeness she feels towards Joanne for fear of falling into the trap again and prepared to adapt to her ‘nice’ new life if it gives her a second chance. Joanne, played by Lucy Mabbitt, is the manipulative bully who swings from smiles to anger, and brushes aside the lies she tells as she is found out. Looking milder than one might imagine, she nevertheless illustrates the brainwashing process of grooming and occasionally allows herself to slip into remembering comforting moments of the past. Emily Fairn captures a naïveté in Amy which nurtures our affection and care. She is instrumental to the comic element but also to the tragic.

More than just pointing out those who slip through the cracks of society, ‘All the Little Lights’ underlines the harm done in childhood which, in turn, produces perpetrators. Complete with original music (Eric Fabrizi) and visuals (Alex Hobbs) which accompany their fantasies and thrills, the naturalistic tone of the script has a screen drama feel to it and makes it immediately connectable. The brilliant writing and Hannah Calascione’s contained intensity in the direction are powerfully compelling. We want to save Amy, we will Lisa not to go back and we feel impotent when Joanne inflicts the same suffering as she has received. Hopefully, there will be growing awareness, as this production intends, but it means digging at the roots of an enormous and unfortunate cycle – hurt people hurt people.

Reviewed by Joanna Hetherington

Photography by Dave Buttle

All the Little Lights

Tristan Bates Theatre
until 17th August as part of Camden Fringe 2019

Previously reviewed at this venue:

Oranges & Ink | ★★ | March 2019

Sad About The Cows | ★★ | May 2019

The Luncheon | ★★★ | June 2019

To Drone In The Rain | ★★ | June 2019

Sorry Did I Wake You | ★★★★ | July 2019

The Incident Pit | ★½ | July 2019

When It Happens | ★★★★★ | July 2019

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★

“the audience is just watching a space with two chairs and a table, listening to an actor tell a story”

Agent 14 proclaims itself to be a one man show about a British intelligence agent “twice the age of 007 — but…twice as good!”. Hanging the success of a production on the protagonist’s age does this James Bond spoof no favours, especially when the script misses every chance to show us why an agent with thirty one years in the secret service is such an asset.

It’s always a risky business, spoofing a franchise as successful as Ian Fleming’s James Bond novels. The advantage is that your audience will come to the theatre ready to recognise the jokes about the alleged trappings of international espionage. But you still have to deliver a drama that includes these elements, and which then does something unexpected with them. Agent 14 sets us up to believe that we are about to see a show where age triumphs over beauty and youthful athleticism. Unfortunately, Agent 14 inexplicably derails itself instead, presenting us with a story about men long past retirement age (for the secret service) trying to solve one last mystery.

Sadly, this one hander by Ann Richards is no action drama either. It is all tell, and no show. But then, there is a reason James Bond stories work so well in film, where rapid changes to lots of exotic locations are expected, as well as death defying stunts on complicated sets. It is very difficult to stage these things unless one has the resources of the National Theatre, and even then, elaborate staging cannot disguise a weak script. Staged upstairs at the more modest, but very welcoming Gatehouse pub, Agent 14 is essentially sixty minutes of sitting and listening to one actor recite an Ian Fleming-like story with several switches of character and some attempts at dialogue. At the very least, this script cries out for two actors. It’s a tough assignment for just one actor, no matter how talented. Not surprisingly, solo performer Gary Phillpott delivers an uncertain performance whether it is playing Agent 14 Hugo Gunn, or a charlady, or his boss, or a taxi driver, or even a sultry Russian spy. All the references to sports cars, bespoke Savile Row suits, fine cuisine, and unlimited cash to gamble with, cannot disguise the fact that, in Agent 14, the audience is just watching a space with two chairs and a table, listening to an actor tell a story.

Agent 14, produced by the Off The Fence Theatre Company, is part of the ongoing Camden Fringe Festival, which has several other shows running at Upstairs at the Gatehouse in
Highgate Village and other venues.

Reviewed by Dominica Plummer

Images by ZigZag Photography

Tristan Bates Theatre

Reviewed – 12th August 2019

★★★★★

“The brilliant writing and Hannah Calascione’s contained intensity in the direction are powerfully compelling”

Reviewed by Joanna Hetherington

Photography by Dave Buttle

All the Little Lights

Tristan Bates Theatre until 17th August as part of Camden Fringe 2019

Previously reviewed at this venue:

Upstairs at the Gatehouse

Reviewed – 12th August 2019

★

“the audience is just watching a space with two chairs and a table, listening to an actor tell a story”

Agent 14, produced by the Off The Fence Theatre Company, is part of the ongoing Camden Fringe Festival, which has several other shows running at Upstairs at the Gatehouse in Highgate Village and other venues.

Reviewed by Dominica Plummer

Images by ZigZag Photography

Agent 14

Upstairs at the Gatehouse until 18th August as part of Camden Fringe 2019

Previously reviewed at this venue:

Tristan Bates Theatre
until 17th August as part of Camden Fringe 2019

Agent 14, produced by the Off The Fence Theatre Company, is part of the ongoing Camden Fringe Festival, which has several other shows running at Upstairs at the Gatehouse in
Highgate Village and other venues.