Tag Archives: Eddie Kay

MASTERCLASS

★★★★

Southbank Centre

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MASTERCLASS at the Purcell Room, Southbank Centre

★★★★

“Rachel Bergin’s creative production packs a well-staged punch aimed squarely at the patriarchy”

You will recognise the stage set up from any “A Conversation With…” events you have attended in the neighbouring Royal Festival Hall. Two opposing casual chairs either side of a coffee table, prominent copies of a ‘great work’, and a historically accurate cognac bottle: Ellen Kirk as set designer gets the tone just right.

However, the sincerity lasts for mere seconds before Feidlim Cannon and Adrienne Truscott start unravelling the form with silliness, physical comedy and rat-a-tat dialogue. Over the course of an hour they unpick the work of many of the greats stubbornly taking space in the literary and theatrical canon.

Feidlim Cannon plays the interviewer, entering the stage to smooth jazz (Jennifer O’Malley on sound design), ready to cosily interrogate a great man and his body of work. A moustachioed and body suited Adrienne Truscott is introduced as a writer, director and costume designer whose work allegedly surfaces themes of truth, gender and power, but as unrehearsed readings of one of his scenes demonstrate, are more often channels for misogyny and violence against women.

 

 

Quickly, the artifice is revealed, with Cannon’s seventies wig falling off during farcical movement sequences (well designed by Eddie Kay, movement director). This escalates throughout the piece as lines between the characters and the artists playing them are increasingly blurred; they appear to break scene to demand self-examination of themselves. In places the threads of the devising are still visible, though they are mostly welcomed (I am a sucker for a juxtaposed dance sequence). Costumes are shed nearly all the way; which as we are reminded is Truscott’s calling card from previous shows, and extensively examined.

There are some great one liners in the first half of the script from writers Cannon and Truscott, along with Gary Keegan of Irish theatre company Brokentalkers, which jab at well-known theatrical productions that have frankly audacious premises. The exploration of why genius and passion never seems to express itself in calm and considered behaviour when violence is available was another point persuasively demonstrated.

Then as the fourth wall fully breaks, we move into a fairly explicit lecture on feminism, allyship and taking up space. It feels like most of the flair disappears for too long before the ambiguous ending restores the playfulness that has underpinned the majority of the piece. I felt like the stripped back truth-telling felt a bit too much like a classroom and the commentary slightly too surface level to justify the lack of theatricality.

Despite this, the vast majority of Masterclass is creative, gnarly, and cathartic for many a practitioner. Rachel Bergin’s creative production packs a well-staged punch aimed squarely at the patriarchy.


MASTERCLASS at the Southbank Centre

Reviewed on 9th May 2024

by Rosie Thomas

Photography by Ste Murray

 


 

 

 

Previously reviewed at this venue:

FROM ENGLAND WITH LOVE | ★★★½ | April 2024
REUBEN KAYE: THE BUTCH IS BACK | ★★★★ | December 2023
THE PARADIS FILES | ★★★★ | April 2022

MASTERCLASS

MASTERCLASS

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Bromance

★★★★

Assembly Rooms

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Bromance

Bromance

Assembly Rooms

Reviewed – 6th August 2019

★★★★

 

“Amico, Gift and Wheeller radiated charisma and charm, while performing acrobatic tricks that pushed the human body to the extreme”

 

This is a thrilling exploration of how far platonic friendship can stretch, quite literally, between a group of men. Barely Methodical Troupe’s production of ‘Bromance’ uses circus skills, gymnastics and a variety of dance styles to paint a complex portrayal of masculine friendship. This three-hander displays the immense talents of Beren D’Amico, Louis Gift and Charlie Wheeller equally, playing to each of their strengths.

The directorial (Eddie Kay) decision to keep dialogue to a minimum was welcome, as it allowed the physicality of the actors to speak for itself. The dynamic use of minimal set, spotlights and atmospheric music further put the focus on the performers. Amico, Gift and Wheeller radiated charisma and charm, while performing acrobatic tricks that pushed the human body to the extreme. A particular highlight was Wheeler’s segment in which he formed a Catherine wheel, which resulted in explosive applause. The performers appeared to defy gravity, moving in formation like synchronised swimmers – it was mesmerising. Audible gasps spread round the audience as Gift was flung like a javelin through the air.

However, underlying the impressive moves was a more tender story, that occasionally got lost amid the audience’s fascinations with the tricks. ‘Bromance’ touches the surface of current ‘hot topics’ such as the toxicity of hyper-masculinity. This is shown when in turn, each of the performers has a moment of being unable to control their feelings, or deal with those of their co-performers. In a way, it seems ironic that the emotional side of the story is overshadowed by the physical aspect of the stunts. While the flips and tricks were spectacular, I would argue that some of the strongest moments of this piece were in the small gestures of friendship extended between the cast – an arm around the shoulder or a tight hug.

This is a very close company, who have rehearsed tirelessly to put on such a slick and innovative production. While all the performers were dressed the same, they each brought a unique set of circus skills and characters to the table. Throughout the performance, there are constant moments of comedy, exposing the tragic humour of trying and failing to live up to society’s expectations of ‘masculinity’. Prolonged periods of awkward silence are counterbalanced with one performer breaking the mould completely and embarrassing himself. Kay’s direction of this was clear as he played with the extreme boundaries of ‘what is deemed acceptable’ between a group of male friends.

This engaging show is laced with moments of humour and intimacy. It is an important addition to the topical debate surrounding ideas of gender.

 

 

Reviewed by Emily Morris

Photography by Chris Nash

 


Bromance

Assembly Rooms until 25th August as part of Edinburgh Festival Fringe 2019

 

 

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