Cockpit Theatre Archives - Page 13 of 19

★★★

“on paper this updating is fascinating and makes utter sense, but poor exposition and some wishy-washy playing has a distancing effect”

The inspiration for Kelly Wilson’s 21st century vision for Much Ado is her discovery of ‘noting’, the Elizabethans’ version of messaging apps. The term relates not only to the exchange of notes but also the rumours and confusions that follow, explaining why they make such effective devices in Shakespeare’s comedies. The production can be followed on Facebook simultaneously, allowing the audience to scroll through and comment on developments in real time, and much of the on-stage interactions and revelations are conducted through smartphones.

Other innovations include the use of projections to set the scene, display Skype calls, Facebook posts and the sharing of video footage between the characters, all of which enliven as well as modernise. The action and some of the language is bumped to the modern era too, with characters Pedro, Benedick and Claudio returning from Afghanistan to let off steam, indulge their need for horse-play and falling in love. Ruthless editing means that Dogberry is written out altogether and the original Don John character is streamlined into Joan Don, a mean-spirited hacker with fewer lines and less motivation.

So far, though, so good. However, what promises to be an energetically re-imagined, intellectually ingenious and technically multidimensional version of this enjoyable classic sags in some unexpected places. Six original songs (Alex Loveless, Scott Howland) are signalled in the programmes, but their Disneyesque reality cheapens rather than heightens the play’s sweeping emotions, not helped by the patchy singing skills available.

The Cockpit’s generous stage-area becomes a handicap rather than a canvas for the choreography (Darren Royston) and the generally underpowered performances couldn’t quite live up to the production’s brilliant ambition.

Fortunately, the wittily-written love match between Benedick and Beatrice is distinctively delivered by Gunnar DeYoung and Tamsin Lynes. Joanna Clarke stands out for her steely Joan Nicola Don, despite the slighter role. But while there are many other details and talents to impress, it’s telling that most were non-acting. The digital design by Zsara Jaeger is beautifully observed, detailed and plausible, projections are well deployed by Liz Leeman and the overall effect is smart and coherent.

So, on paper this updating is fascinating and makes utter sense, but poor exposition and some wishy-washy playing has a distancing effect. Moral: too much social media spoils the appreciation of what’s in front of you.

Reviewed by Dominic Gettins

Photography by Laura Dorn

Bed Peace: The Battle of Yohn and Joko

Cockpit Theatre

Reviewed – 3rd April 2019

★★★

“the cast and crew clearly work hard both to entertain and deliver a message, unfortunately the story founders in a couple of areas”

Everyone has heard of The Beatles and most everyone has heard of John Lennon, but whilst John and Yoko may be known generally for their peace campaigns, and for a couple of very strange music collaborations, the details of their story are certainly lesser known. Presumably, ‘Bed Peace: The Battle of Yohn & Joko’ seeks to put that to rights.

The narrative centres around the two weeks that John and Yoko famously held a ‘bed-in’ in a hotel suite as an experimental peace protest. This is used as a pivotal moment in developing and actioning their ideas of effective protest. A lot of agendas are thrown in to the conversation – Women’s Lib, the Vietnam War, and the Black Rights movement for example, the last put forth by Amelia (Amelia Parillon), a Black Rights activist invited to talk with John and Yoko. Parillon is easily the star of the show, particularly shining in an impassioned monologue discussing the innate privilege in being able to be kind all the time.

Craig Edgley (John) isn’t afraid to explore the more aggressive side of Lennon’s character in his struggle to overcome his ego. He succeeds in balancing likability and a short temper, and his chemistry with Jung Sun den Hollander (Yoko) nicely portrays the trial-and-error nature of their political campaigns, as well as the struggles they might have had between one another.

Rocky Rodriguez Jr has devised a very physical and energetic piece of theatre, constructing interesting ways to move around the stage – backward roles, synchronised footwork and a couple of little acrobatic moves. Abigail Screen’s design creates an intimate bedroom space, of course with all the sixties trappings – a panel of flowers hanging from the ceiling, tealights scattered everywhere, various protests signs tacked to the walls – “People For Peace’, “Make Love Not War”, “Give Peace a Chance”. And as we would expect, the soundtrack is taken care of, with big Beatles and Lennon hits throughout.

Whilst the cast and crew clearly work hard both to entertain and deliver a message, unfortunately the story founders in a couple of areas: firstly, it’s really just about John. Yoko features as an influence on his thinking, but not as an independent character. She doesn’t quite fall in to the ‘manic pixie dream girl’ category, but she’s not far off. The same can be said for the mention of the Black Rights and Women’s Lib movements – rather than being platformed, they’re just used as vehicles for John’s progression.

The second issue is that whilst there are moments of seeming honesty and grit, they are far outweighed by moments of artifice and sterile, extra-smiley portrayals of the sixties.

The show succeeds in light entertainment, and who doesn’t enjoy a bit of a Beatles sing-along, but it misses the mark a fair way in authenticity and purpose.

Cockpit Theatre

Reviewed – 20th June 2019

★★★

“on paper this updating is fascinating and makes utter sense, but poor exposition and some wishy-washy playing has a distancing effect”

The Cockpit’s generous stage-area becomes a handicap rather than a canvas for the choreography (Darren Royston) and the generally underpowered performances couldn’t quite live up to the production’s brilliant ambition.

So, on paper this updating is fascinating and makes utter sense, but poor exposition and some wishy-washy playing has a distancing effect. Moral: too much social media spoils the appreciation of what’s in front of you.

Reviewed by Dominic Gettins

Photography by Laura Dorn

Much Ado About Not(h)ing

Cockpit Theatre until 22nd June

Last ten shows reviewed at this venue:

Cockpit Theatre

Reviewed – 3rd April 2019

★★★

“the cast and crew clearly work hard both to entertain and deliver a message, unfortunately the story founders in a couple of areas”

The second issue is that whilst there are moments of seeming honesty and grit, they are far outweighed by moments of artifice and sterile, extra-smiley portrayals of the sixties.

The show succeeds in light entertainment, and who doesn’t enjoy a bit of a Beatles sing-along, but it misses the mark a fair way in authenticity and purpose.

Reviewed by Miriam Sallon

Bed Peace: The Battle of Yohn and Joko

Cockpit Theatre until 28th April

Last ten shows reviewed at this venue: