Tag Archives: Dominica Plummer

Invasion! An Alien Musical

Invasion! An Alien Musical

★★

Camden People’s Theatre

INVASION! AN ALIEN MUSICAL at the Camden People’s Theatre

★★

Invasion! An Alien Musical

“It is possible to see how, with more work, Invasion! can become something that audiences will enjoy”

 

If Edinburgh is beyond your budget this year, you should definitely visit the varied performances now being offered as part of the 2023 Camden Fringe Festival instead. You’re bound to find something appealing, and at bargain prices too. It’s great to find interesting theatre in your own backyard, and the number of shows on offer seems to grow every year. So feast your eyes on all the intriguing performances listed on the Camden Fringe website, and hurry to get your tickets before it’s too late.

This year I’m beginning with a visit to the latest musical from the Cambridge University Musical Theatre Society. This is the group that gave the West End its blockbuster musical hit SIX, about King Henry VIII’s unfortunate wives. The packed audience in the Camden People’s Theatre last night sounded eager to see if there’s another hit musical in the making. While there’s certainly conspicuous talent on display in Invasion! An Alien Musical, the show is a long way from the West End at the moment, figuratively speaking. This is mostly because Invasion! is a big budget musical put together on a shoestring. The money appears to have gone into boosting the sound of the keyboards at the expense of the singers. If you’re going to use amplification for the music, it seems only fair to give your singers a fighting chance by giving them an amplified sound as well.

But let’s backtrack a bit, and provide a sketch of the plot. With more than a little nod from classics such as the Little Shop of Horrors, the story behind Invasion! An Alien Musical is familiar enough. In brief, we meet exploited workers toiling away in a miserable theme park with not enough to live on, while an evil prime minister welcomes in sinister aliens disguised as plush toys. These aliens are, not surprisingly, here to take over the Earth. This would seem to be a pretty poor choice on the aliens’ part, given the current state of the Earth, but OK. The plush toys, called Larry Lotus’, that the aliens inhabit in order to mind meld with humans, are adorable, and of course, all the more threatening for that. If the plot had just stuck to the main story of Johnny Fox, exploited worker, trying to free himself and his fellow humans from alien plush toys (with the help of another alien called Sola) the audience could have reached the end of the show reasonably clear about what had happened. But there’s a ton of extra characters, some with mysterious American accents (take that how you will), and a lot of muddled rushing on and off the stage. There’s too much exposition to explain why these characters are on stage in the first place. The Rocky Horror Show, which also began as a musical on a shoestring, did this all very successfully, keeping the alien mayhem caught within a sinister mansion, rather than a theme park. And it brought all the extraneous events and characters into the mansion, while keeping Downing Street out of it. Keep it simple, folks.

It is possible to see how, with more work, Invasion! can become something that audiences will enjoy. Sci fi musicals have been successful in the past—even another low budget one like Return to the Forbidden Planet, which toured London parks in the Bubble Theatre’s inflatable yellow tent before transferring to the West End. It can be done, and the music and lyrics by the talented Lily Blundell deserve to reach a wider audience. But Jasper Cresdee-Hyde and Jonathan Powell, as writers and directors, are several drafts away from a workable book. The cast has some great singers, Kate South and Iona Rogan in particular. Gregory Miller is rather underused as a performer. But the leads, Jamie Ellis as Johnny Fox, Nathan Galpin as Brian Fox, and Freya Cowan as the alien Sola, are simply lost among the overpowered playing of Blundell on keyboards, and the acting and singing of the rest of the cast. The whole show needs to go for broke, and that includes the lighting, costumes and make up.

Hopefully this run at the Camden People’s Theatre won’t be the last we see of Invasion! An Alien Musical. If the cuddly plush toys go back to the drawing board and work on another draft, I, for one, would welcome the alien wannabe overlords back to the Camden Fringe next year. It would be cool to see how their plans for taking over the Earth—or even the West End—are progressing


INVASION! AN ALIEN MUSICAL at the Camden People’s Theatre

Reviewed on 31st July 2023

by Dominica Plummer

Photography Charlotte Dargan 

 

 

 

 

 

Recently reviewed by Dominica:

 

Caligula And The Sea | ★★½ | VAULT Festival 2023 | March 2023
Dance Of Death | ★★★★★ | The Coronet Theatre | March 2023
Farm Hall | ★★★★ | Jermyn Street Theatre | March 2023
The Net Kill | ★★★★★ | VAULT Festival 2023 | March 2023
666 Hell Lane | ★★★★★ | The Vaults | February 2023
Dance Me | ★★★★★ | Sadler’s Wells Theatre | February 2023
Oklahoma! | ★★★★ | Wyndham’s Theatre | February 2023
Police Cops: Badass Be Thy Name | ★★★★★ | The Vaults | February 2023
Women, Beware The Devil | ★★★★ | Almeida Theatre | February 2023
Intruder | ★★★★ | VAULT Festival 2023 | January 2023
The Art of Illusion | ★★★★★ | Hampstead Theatre | January 2023
The Ocean At The End Of The Lane | ★★★★ | New Victoria Theatre | January 2023

Invasion! An Alien Musical

Invasion! An Alien Musical

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Dance of Death

Dance of Death

★★★★★

The Coronet Theatre

DANCE OF DEATH at The Coronet Theatre

★★★★★

Dance of Death

“Watching this Dance is to appreciate why actors should not tackle Strindberg unless they are at the very top of their game”

 

Watching a play about three people trapped in a dysfunctional marriage may not be everyone’s choice for a night at the theatre. But this production of Swedish playwright August Strindberg’s Dance of Death by the National Theatre of Norway should not be missed. Directed by Marit Moum Aune, the production currently visiting the Coronet Theatre in Notting Hill, is also performed in Norwegian with English subtitles on stage. The best way to experience this production, then, would be to read the play beforehand. That way you can settle back in your seat and get immersed in the stellar performances of Pia Tjelta, Jon Øigarden and Thorbjørn Harr without the distracting subtitles. Because make no mistake, you won’t want to miss a moment of these actors’ intense portraits of people intent on driving each other to madness and worse.

Dance of Death occupies a transitional space in Strindberg’s plays. It’s midway between intensely naturalistic dramas like Miss Julie and The Father, moving inexorably in the direction of the symbolist Ghost Sonata and A Dream Play. But the symbolist features of the latter plays are present in the earlier plays, if you know where to look. Dance of Death is no exception. Even in the naturalistic setting of a fortress prison where Edgar and Alice have endured twenty five years of a tortuous marriage, we see that the space itself is one of the characters driving this broken pair to ever more savage acts. When Alice’s cousin Edgar arrives, the space takes hold of him in much the same way. Strindberg has set up a glorious plot. Trapped on an island, isolated from the rest of the world, will anyone survive? And did I mention that Dance of Death is also funny? Strindberg’s wit shines through in this production, even in Norwegian.

Every part of the National Theatre of Norway’s production does justice to Dance of Death. The set (Even Børsum) presents a domestic setting that gives the actors space to show their distance from each other, as well as spaces where they physically grapple for domination and control. Connections with the outside world, such as the telegraph, are suspended above the stage, showing another kind of distance. The sound (designed by Bendik Toming) and lighting (Agnethe Tellefsen) echo the sounds of other lives, outside this prison, outside this play. These also intensify the sense of isolation that is driving Alice, Edgar and Kurt to madness.

As you might expect, it is the actors who deserve the most credit in Dance of Death. From the start, where Pia Tjelta’s Alice faces off against Jon Øigarden’s Edgar on opposite sides of the stage, you won’t be able to look away. Øigarden’s performance in particular is a masterpiece of control. Switching between bouts of sickness where he literally collapses prone, to physical grappling with Alice and Thorbjørn Harr’s Kurt, the audience never knows what he will do next. He is the puppetmaster, who knows how to disguise himself as a victim. Alice and Kurt have no choice but to dance to his tunes. Pia Tjelta has the difficult role of playing both betrayed wife and vengeful vampire. But her Alice (a former actress) knows how to move effortlessly between cold indifference and seductive charm. And like a vampire, she can never be quite killed off, despite the attempts of both men to do so. Thorbjørn Harr’s Kurt is a portrait of a man seemingly in control of his life, despite its sorrows. Harr’s physical transformation into a pallid drunkard by the end, sucked dry of life by this predatory pair, is impressive. Watching this Dance is to appreciate why actors should not tackle Strindberg unless they are at the very top of their game. And they will still need a good director to guide them through the traps the playwright places along the way. Fortunately for Harr, Øigarden and Tjelta, Marit Moum Aune is up to the task. Aune has created a Dance of Death that manages to avoid the seemingly unrelenting gloom. Her direction shows us a ruthless world, it is true, but one shot through with humour, and hints of how to escape.

Dance of Death is revived often on British stages. Often with mixed success. And that’s another compelling reason to catch this production. Scandinavians know this material intimately. They are raised on it. Hence the go for broke, no holds barred approach from the National Theatre of Norway. It’s an instructive experience.

 

Reviewed on 17th March 2023

by Dominica Plummer

Photography by Tristram Kenton

 

Previously reviewed at this venue:

 

When We Dead Awaken | ★★★★ | March 2022
Le Petit Chaperon Rouge | ★★★★ | November 2021

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