Tag Archives: Clancy Flynn

IT’S ONLY LIFE

★★★★★

Union Theatre

Life

It’s Only Life

Union Theatre

Reviewed – 15th June 2018

★★★★

“Bucchino’s songs embrace the full spectrum of contemporary urban living with sensitivity and wit”

 

It’s Only Life, John Bucchino and Daisy Prince’s musical revue of twenty-three heart-breaking and hilarious songs, is already a well-known enterprise in the world of American musical theatre. And rightly so: Bucchino’s songs embrace the full spectrum of contemporary urban living with sensitivity and wit. Laid side by side, the songs dip, twist and soar, telling a collective story of stasis, desire, love, heartbreak and redemption.

The ensemble of five performers master these songs beautifully. Recent graduates Sammy Graham and Will Carey keep their cool amongst the more experienced performers Jennifer Harding, Noel Sullivan and Jordan Shaw, and, apart from some lyrics getting lost at the beginning, the vocals are flawless. Harding exudes pathos narrating the crossing paths of two lovers in ‘Sweet Dreams’, and Carey memorably toys with his audience in the hilarious ‘On My Bedside Table’, gritting his teeth trying to prove he is not at all phased by “the fact that you and I are definitely through”. ‘Grateful’ bookends the piece and allows Sullivan a moment to show off his vocal range and power. It’s refreshing that these performers can show restraint when it’s needed. This is a show about the songs and the story, not ego.

Justin Williams’ design stands out from the off. Cleverly using pastel blues, pinks, greens and oranges on a simple white background, Williams has created a space where props are close to hand and levels are used to maximum effect. Our stories can move from downtown bars to lonely bedrooms with little effort and give the songs a crucial context. Tania Azevedo’s direction too, is unflashy and in full service to the symphony of stories. No movement feels unnecessary, and the precision of the cast shows a wide variety of environments that the space itself would never allow.

The message of It’s Only Life is hardly original, but kindly reminds us to embrace the things we fear. These songs act as stepping stones, from risk to risk, and we can only learn as we go how best to get to the other side. Ultimately, it’s a redemptive and moving revue. I saw audience members crying, holding hands, laughing out loud. The ensemble, representing a sexually diverse Britain, behave familiarly with their audience as if to say: “These are our stories, but they’re yours too”. And that is where It’s Only Life really succeeds. Anyone can find a story here, or a moment, to relate to.

It’s Only Life is an unforgettably enjoyable experience that comes highly recommended. Great songs, great vocals, great emotions … what’s not to love?

 

Reviewed by Joseph Prestwich

Photography by Pamela Raith

 


It’s Only Life

Union Theatre until 7th July

 

Related
Previously reviewed at this venue
Carmen 1808 | ★★★★★ | February 2018
The Cherry Orchard | ★★★★ | March 2018
Twang!! | ★★★★ | April 2018

 

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The Soul of Wittgenstein – 3 Stars

Wittgenstein

The Soul of Wittgenstein

Omnibus Theatre

Reviewed – 8th February 2018

★★★

“the audience would have been better served with a tighter script”

 

The Soul of Wittengenstein is a dramatic imagining of the philosopher’s time spent working, incognito, as a porter in a London hospital in WWII. The playwright, Ron Elisha, introduces the character John Smith, an illiterate navvy who is a patient in the hospital, and charts the development of a surprising but profound friendship between the two men. Within this simplest of plot lines, we are also treated to a whistle-stop tour of War and Peace, and some of the salient points of Wittgenstein’s linguistic philosophy.

The play begins with a beautiful and revealing silent movement sequence from Richard Stemp, as Wittgenstein, underscored by a perfectly chosen sonata for cello and piano. The left side of the stage is barely lit, but we are aware of an inhabited hospital bed. This opening, showing the deft directorial hand of Dave Spencer that is present throughout, perfectly sets the tone of the piece. Compliments are due here to Rachael Murray (Sound), Clancy Flynn (Lighting) and Mayou Trikerioti (Set) for terrific production design, in which the sound, the lighting and the set continually worked together in subtle harmony.

Richard Stemp ably embodied the capricious philosopher, described by Bertrand Russell as ‘the most perfect example I have ever known of genius as traditionally conceived; passionate, profound, intense, and dominating’. Wittgenstein, as seen here, is not immediately likeable – he is pedantic and emotionally disconnected – and it is testament to Stemp’s skill that we warm to the man as the play unfolds. Ben Woodhall gave a wonderful and utterly believable performance as John Smith. His naive charm and essential humanity were on display throughout and provided the perfect counterpoint to Stemp’s tightly-held genius. He also maintained an excellent Cockney accent of the period. It was just a shame that this was occasionally marred by errors in the writing of the slang. Cockney rhyming slang works as a code because the rhyming part of the phrase remains unspoken, hence ‘plates of meat’ (feet) becomes ‘plates’; ‘apples and pears’ (stairs) becomes ‘apples’ etc. Other than ‘brown bread’ (dead) – a notable exception – this is how it works. John’s relationship to Wittgenstein’s ‘dickie birds’ (words) is central to the play, and it therefore seemed odd that they weren’t the ‘dickies’ they should have been.

The play’s relationship with words, as a whole, presented problems. Wittgenstein’s character, as well as the nature of his philosophical enquiries, is predicated on linguistic play and precision; thus not innately theatrical. For this reason, the play lacked pace; the audience would have been better served with a tighter script and twenty minutes taken off the running time. That being said, the high quality of the acting, directing and production design led to an enjoyable, and occasionally moving, evening at the theatre.

 

Reviewed by Rebecca Crankshaw

Photography by Lidia Crisafulli

 

Omnibus Theatre

The Soul of Wittgenstein

Omnibus Theatre until 25th February

 

 

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