Tag Archives: Cory Shipp

THE ICE AT THE END OF THE WORLD

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Omnibus Theatre

THE ICE AT THE END OF THE WORLD at the Omnibus Theatre

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“Madelaine Moore’s direction is assured, moving with suave authority”

The Ice at the End of the World is chilling in the best way possible. Seldom in the theatre have I needed to squeeze someone’s hand quite so frequently. The lady next to me was very understanding. Luckily, I’d brought her with me. For seventy five minutes, we are aboard a tall ship, and taken on its eerie and highly unsettling excursion into the Arctic Circle.

We follow a small group of artists, who have been selected to undertake this really quite dangerous and not-just-for-giggles journey for the sake of their art. Their inspiration is β€˜life at the end of the world’ (although this detail is not entirely clear). But the further north they go, the more disturbed things become. By the end of the piece, it is assuredly a cosmic horror, which harnesses both alien terror and a mythological morality tale concerning climate change and the arrogance of the human race.

The first thing that should be complimented is the superb plethora of non-verbal material here. Lighting (Megan Lucas) and Sound Design (Russell Ditchfield) work in compelling symbiosis. The axiom of this show is β€˜we do not take the journey; the journey takes us.’ Thus, the actors weave between dialogue and protean physical theatre, cultivating the eerie unreality of life aboard a ship – maddeningly claustrophobic within the vast entrapment of the sea. Silhouettes, voiceovers, dance, and more, meld seamlessly, conjuring the other-worldly enchantments of the journey north.

Madelaine Moore’s direction is assured, moving with suave authority, and allowing its non-dialogic elements to taunt and threaten. They express the ineffable and erotic temptations of nature, especially as the ice melts, revealing the untamed potential of the uncivilised Earth, which demands something in return for the damage we have unthinkingly wreaked upon her.

The cast is brilliant as the four-person crew of eccentrics. Laura (Judith Amsenga), who functions as Nature’s tour guide of the Arctic Circle, is commanding and unhinged in terrifyingly equal measure. Eleanor Dillon-Reams is captivating as Alys, the sort-of protagonist, and a translator of Finnish poetry – of course, she is herself, a former, failed poet. Katy Schutte (who is also the writer, deserving of its own commendation) and Gian Carlo Ferrini are also excellent, and their characters complement the piece throughout.

This piece of theatre – I’m loath to call it but a play – is, at its core, a theatrical argument between Mother Nature and the human race: It is a battle of ego. Alongside, there is a recurring conceit devolving the nature and origin of genius. Here, genius manifests as an attendant demon that threatens to possess its human vessel completely. This idea looms throughout, posing some wonderful philosophical knots for the journey home.

A word used in the piece is β€˜unsettling’: it is the perfect word with which to consider this play. We are unsettled constantly: by the movement of the ship, and by the evasive and disturbing chain of events.

If I had any criticisms, it would be that a discussion of queerness feels a little shoehorned in and lacking in sufficient development. I’d also say that some of the more abstract physical theatre was perhaps introduced too early to deliver its full effect. But I am nit-picking.

The Ice at the End of the World is endlessly resourceful. Its lens is panpsychist, probing the boundaries of consciousness and power, and flirting with the liminal spaces between Human and Nature, and where Art disrupts these fabrics. It is also a warning: a warning that the planet will avenge its destruction at the hands of human beings; a warning that the permanence of the Earth will forever haunt the exploits of mere mortals, no matter what their contributions. There’s also some really cool stuff with ice bears. I could not recommend this show enough.


THE ICE AT THE END OF THE WORLD at the Omnibus Theatre

Reviewed on 27th September 2024

by Violet Howson

Photography by Sadhbh McLoughlin

 

 


 

 

 

 

Previously reviewed at this venue:

MY LIFE AS A COWBOY | β˜…β˜…β˜… | August 2024
HASBIAN | β˜…β˜…β˜…β˜… | June 2024
COMPOSITOR E | β˜…β˜…β˜… | September 2023

THE ICE AT THE END OF THE WORLD

THE ICE AT THE END OF THE WORLD

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Unfortunate

Unfortunate: The Untold Story Of Ursula The Sea Witch

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Underbelly Festival Earls Court

Unfortunate

Unfortunate: The Untold Story Of Ursula The Sea Witch

Underbelly Festival Earls Court

Reviewed – 23rd June 2022

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“Elliotte Williams-N’Dure’s Ursula grabs the reigns and takes supreme control”

 

β€˜The Wizard of Oz’ has had β€˜Wicked, β€˜Sleeping Beauty’ has had β€˜Maleficent’, β€˜The Hundred and One Dalmatians’ had β€˜Cruella’; and now β€˜The Little Mermaid’ is dragging the villain centre stage with β€œUrsula”; Fat Rascal Theatre’s take on Disney’s take on Hans Christian Anderson’s β€˜The Little Mermaid’. With a bit of a mouthful for a title – β€œUnfortunate: The Untold Story of Ursula the Sea Witch’ – the stress is on the β€œUnfortunate”, although there is nothing unfortunate about this scandalous, sexy, subversive, salacious story.

If the delivery is wicked (in every sense of the word: old, new and urban), the premise is noble. What if Ursula wasn’t bad? If she were a victim of circumstance, prejudice, and cancel culture. If you can dig beneath the laughs, the slapstick and the outrageously catchy tunes (and you’ll need a pretty large spade) you will discover a character who has more dimensions than Disney’s hi-tech animation wizardry could ever produce.

Banished over an unfortunate incident involving a sea cucumber, Ursula is later called upon by King Triton to sort out his wayward daughter Ariel. She’s not the heir he hoped for; she just wants to be β€œwhere the dicks are”. Yes, you read that correctly. Not the most subtle or profound witticism but it does make for a hilarious and irresistible earworm of a song. Like the rest of Tim Gilvin’s score, with Robyn Grant’s and Daniel Foxx’s book and lyrics, this musical washes over you in gorgeous waves, pulling you under so you don’t care about when you can next come up for air.

Originally an hour-long tsunami of a show, the writers have spent the pandemic expanding it into two acts. It seems that this might have diluted the impact and lifted the plot from the anchor that is Ursula. But before it can drift too far, Elliotte Williams-N’Dure’s Ursula grabs the reigns and takes supreme control. A commanding performance with an equally commanding presence. We root for her from the outset and, while her journey isn’t the grandest arc in theatre, we see the effects of her personality on the other characters’ journeys. Miracle Chance’s ditzy, petulant, TOWIE inspired Ariel is certainly taught a thing or two by Ursula. The messages are unaffected by the tongue-in-cheek delivery. β€œIt’s unfortunate you have to lose your voice to get a man” she croons just before interval.

George Whitty, as the glittered and bearded Triton, casts his stunning voice into the air – enough to keep the upturned, purple cow that is the underbelly inflated all on its own. All the company are in fine voice, and on finer form, particularly the starry and mesmerising Allie Dart-Munro as Sebastian, the Irish crab, among other voices of reason, redemption and ridiculousness. Such is the versatility of this ensemble cast, one of the biggest surprises of the evening is delivered at curtain call when we realise they are only number six in total. It is all aided by the puppetry (puppets directed, designed and built by Hugh Purves with co-designer Abby Clarke) and costumes (Cory Shipp): works of art in themselves.

With a collection of songs that are intelligent, funny and memorable; and with a storyline that is bold, brave and rebellious, β€œUnfortunate” is as far removed from Disney as you can get. β€œWe Didn’t Make It to Disney” exemplifies its intentions as the cast make a celebration of banishing any attempt at grabbing a family audience. Leave the kids at home, folks. Enjoy the X-rated humour in the company of like-minded grown-up children.

A little rough around the edges, β€œUnfortunate…” is not quite watertight. A few bits of flotsam and jetsam could be dredged, but its London premiere breaks onto the shores of Earls Court in a tidal wave of irreverent madness, mayhem and musicality. Go and get swept away.

Reviewed by Jonathan Evans

Photography by Craig Sugden

 


Unfortunate: The Untold Story Of Ursula The Sea Witch

Underbelly Festival until 16th July followed by UK Tour

 

Other shows recently reviewed by Jonathan:
The Silent Woman | β˜…β˜…β˜…β˜… | White Bear Theatre | April 2022
The Straw Chair | β˜…β˜…β˜… | Finborough Theatre | April 2022
Grease | β˜…β˜…β˜…β˜… | Dominion Theatre | May 2022
Legally Blonde | β˜…β˜…β˜… | Regent’s Park Open Air Theatre | May 2022
Orlando | β˜…β˜…β˜…β˜… | Jermyn Street Theatre | May 2022
The Breach | β˜…β˜…β˜… | Hampstead Theatre | May 2022
The End of the Night | β˜…β˜… | Park Theatre | May 2022
The Man Behind the Mask | β˜…β˜…β˜…β˜… | Churchill Theatre | May 2022
Til Death do us Part | β˜…β˜…β˜…β˜…β˜… | Theatre503 | May 2022
Tomorrow May Be My Last | β˜…β˜…β˜…β˜…β˜… | Old Red Lion Theatre | May 2022

 

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