Cockpit Theatre Archives - Page 14 of 19

★★

“The first act does well despite its outlandish plotting, thanks to some stalwart character comedy”

While lying dead in an open coffin in his own flat, several unlikely things happen to John Jones, the central character of this darkish three-act play. An underworld criminal sends in a glamorous blonde to plant a package into a biscuit barrel (spoiler alert: for no apparent reason) and a maid mistakenly comes to the flat for an interview. John then wakes up from what turns out to be a coma to catch his girlfriend with the man she has been seeing on the side and now wishes to move in. Hilarity ensues, driven by his girlfriend’s perceived financial interest in the flat and the glamorous blonde unfeasibly returning as the love interest for his new, wild, post-death life.

Author Max Nowaz has had some success with elaborately plotted fantasy novels but veers here into an unlikely genre mish-mash. Farce, being one of those genres, relies on the plot working like a machine to make up for two dimensional characters. Refreshing though it is to see it tried, this machine gradually starts to rattle. The first act does well despite its outlandish plotting, thanks to some stalwart character comedy from Alex Pitcher as John and Nicola Mae Begley as Mrs Short the maid, but thereafter the pace slows, the structure wobbles and the plot’s loose ends flap around in the wind. Scenes end randomly and on the press night the audience, unable to figure out when the interval was, appeared at one point to be staging a walk out.

However, with a one act version performed in 2013, ‘Cheating Death’ is arguably still a work in progress; viewed as such, there is much to keep alive. The interplay between the stock characters creates good situation comedy and running jokes. While there’s nothing new about a maid that keeps making tea, a sexually inhibited British bachelor and a Russian blonde that drinks vodka shots, their foibles are easy to enjoy. The cast, gleaned from the final year of The Poor School (as is the play’s Director, Sophie Wilson), lack confidence in places, often killing the pace by trying to milk their laughs. Despite the longueurs, there is a fun and free-wheeling narrative to build on, and nothing much wrong with the production that rehearsals couldn’t put right.

Reviewed by Dominic Gettins

Photography by Sophie Wilson

L’Incoronazione di Poppea

Cockpit Theatre

Reviewed – 30th January 2019

★★★★

“every person involved demonstrated a high level of vocal and acting skills”

First performed in Venice in 1643, L’Incoronazione di Poppea (The Coronation of Poppea), tells the story of Poppea, mistress of the Roman Emperor Nero (Nerone), in her pursuit to become Empress. This production of one of the first operas to use historical events and figures manages to engage a modern audience through timeless themes and talented vocal performances.

Although there are central characters, this work is best described as a strong ensemble piece. All ten performers engage well with each other, displaying believable levels of emotion as well as physical connections. There are no awkward gaps between scenes, with performers making seamless entrances and exits.

It’s difficult to pinpoint a standout performance as every person involved demonstrated a high level of vocal and acting skills. However, the scenes and duets between Poppea and Nerone must be mentioned for their intensity and passion, excellently delivered by Kathleen Nic Dhiarmada and Helen May. Joana Gil as Drusilla brings a welcomed level of comedy and light, particularly during her early scenes with Eric Schlossberg as Ottone. Ottone’s love for Poppea is earlier rejected by her, and he offers to marry Druisilla when he realises he cannot win Poppea’s affections.

Accompanying the singers is a baroque period ensemble, led by Marcio da Silva, who is both Stage and Musical Director. Instruments include two harpsichords, an organ, lutes, a baroque guitar, baroque violins and a cello. These are all skilfully played and complement the vocal performances well.

The opera is performed in Italian with English surtitles, which are projected onto a wall upstage. This generally works well and the words are clear. At times, it did prove difficult to switch focus between the words and the performers on stage, but this could simply be due to the fact that having surtitles as part of a production is arguably quite rare and something that takes getting used to from an audience perspective.

Although first performed in the 17th century, L’Incoronazione di Poppea explores the timeless themes of love and its power, lust, ambition and sex. A minimalist set and contemporary costumes, as well as these themes, help a modern audience to engage, whilst the baroque ensemble means there is still a traditional feel. For someone who’s not hugely familiar with opera, I was impressed and feel inspired to broaden my knowledge of the genre. A sensual, well-delivered production!

Cockpit Theatre

Reviewed – 26th February 2019

★★

“The first act does well despite its outlandish plotting, thanks to some stalwart character comedy”

Reviewed by Dominic Gettins

Photography by Sophie Wilson

Cheating Death

Cockpit Theatre until 10th March

Previously reviewed at this venue:

Cockpit Theatre

Reviewed – 30th January 2019

★★★★

“every person involved demonstrated a high level of vocal and acting skills”

Accompanying the singers is a baroque period ensemble, led by Marcio da Silva, who is both Stage and Musical Director. Instruments include two harpsichords, an organ, lutes, a baroque guitar, baroque violins and a cello. These are all skilfully played and complement the vocal performances well.

Reviewed by Emily K Neal

Photography by Andreas Grieger

L’Incoronazione di Poppea

Cockpit Theatre until 1st February

Previously reviewed at this venue: