Tag Archives: Ellie Dubois

Like Animals

Like Animals

★★★

Summerhall Old Lab

Like Animals

Like Animals

Summerhall Old Lab

Reviewed – 11th August 2019

★★★

 

“in a play about communication, its message at times became unclear”

 

Can humans and animals have conversations? If something is forced to speak, does what they then say hold meaning? At what point does communication fail?

These are all questions that were posed in the innovative two-hander ‘Like Animals’. The piece was created and performed by the real life couple Pete Lannon and Kim Donohoe. The performance intertwined snippets of them talking about their relationship, with true case studies of animal experiments. The examples used were of Irene Pepperberg who taught her parrot, Alex, over 250 words, and Margaret Howe Lovatt who tried to make Peter, a dolphin, speak. While these events occurred over fifty years ago, the questions raised still have relevance. Lannon and Donohoe multi role as themselves and the animals and their trainers. This was made clear through distinctions in body language, voice and simple stylistic choices such as a sprinkle of feathers to symbolise the parrot and a splash of water to the face to portray the dolphin. This had the effect of making the line between human and non-human appear fine as we watched the actors go in and out of character.

The lighting (Benny Goodman) and sound (Michael John McCarthy) was consistently used to good effect throughout. The lighting was intricate, switching between disco colours and precise spotlights to create different atmospheres. Additionally, music and animal sound effects made the audience feel as if they were underwater or in a cage.

The play worked on a kind of parallel structure, flitting between the lives of the animals and the actors. Often lines that were said to the animals in training such as to say the phrase ‘better’, were also used between the couple. A poignant example of this was when Lannon said ‘I love you’ and was asked repeatedly to ‘do better’. This became uncomfortable to watch when applied to humans, highlighting the double standard between how we treat animals in comparison to others.

While the message of the piece was at some points clear, at others it became murky and confused. The direction (Ellie Dubois) used a lot of long pauses and had the actors break the fourth wall. The most obvious use of this was in the line ‘shall we move on to the next bit now’. This constant referencing to the play itself became forced and self-indulgent. The really interesting part of the narrative – what happened to the animals themselves – was skimmed over in favour of an abstract explorations of the real couple’s relationship. I left wishing to know more about the experiments themselves, but instead the play assumed that this was common knowledge.

This show raised important questions about inter-species connections. In an age where we are more conscious of our impact on the planet, this play analysed our need to connect with each other and our world. Ironically, in a play about communication, its message at times became unclear. At the end, perhaps style overtook content, and a more straightforward delivery might have resulted in a stronger message.

 

Reviewed by Emily Morris

Photography by Mihaela Bhodlovic

 


Like Animals

Summerhall Old Lab until 25th August as part of Edinburgh Festival Fringe 2019

 

 

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No Show
★★★★

Soho Theatre

No Show

No Show

Soho Theatre

Reviewed – 24th January 2019

★★★★

 

“Ellie Dubois has directed a piece that’s highly entertaining and engaging”

 

I’ve seen musicals, I’ve seen plays about human relationships and other key themes, but never have I seen a piece centred around acrobatics and circus performance. No Show claims to reveal “what lies hidden beneath the showmanship” of the circus industry from the points of view of five young women.

From the outset, the five performers are personable and engage well with the audience, directly addressing us and making eye contact. They’re likeable and it’s easy to be intrigued as to what they’re going to present to us.

Throughout the piece, we are introduced to each performer and their personal skills. Camille Toyer begins by showing off her skills on a Cyr Wheel, a large metal ring she spins and displays various tricks in. As she does this, another performer explains the dangers Camille faces as she performs in the wheel, from the possibility of broken feet and toes, to being knocked unconscious. Gasps from the audience can be heard as the many hazards are explained and yet Camille continues to perform effortlessly and with the upmost skill.

Alice Gilmartin takes to the stage with a microphone, attempting to welcome the audience to the show, only to be stopped by her fellow performers and told to do a handstand and later “more difficult” tricks. This could be said to be an attempt to highlight the idea that circus performers are just there to entertain and wow audiences, nothing more.

Kate McWilliam proves herself to be a talented acrobat and has a degree in circus arts, but reveals the challenges of being a woman in a male-dominated profession and that she is often told “you’re good, for a girl”. Francesca Hyde, who skilfully plays the accordion at various points in the piece, presents a daring display involving her topknot hairstyle being attached to a harness and her then counterbalancing with a water container and gracefully spinning around the stage. This proved a highlight of the piece and definitely needs to be seen to be believed! Lastly, Michelle Ross reveals that her special skill involves a trapeze, which can’t be demonstrated in the relatively small theatre space. She nevertheless gives an accomplished, entertaining performance throughout the piece.

More than anything, No Show is a demonstration of the sheer talent of the five young women. We gain an insight into what is usually portrayed as quite a glamorous profession, learning of its physical dangers and strains on performers, as well as social challenges. No Show could perhaps benefit from a clearer overall focus at times, but Ellie Dubois has directed a piece that’s highly entertaining and engaging.

 

Reviewed by Emily K Neal

Photography by Chris Reynolds

 


No Show

Soho Theatre until 9th February

 

Last ten shows reviewed at this venue:
Sarah Kendall: One-Seventeen | ★★★★ | May 2018
Sugar Baby | ★★★★ | May 2018
Flesh & Bone | ★★★★★ | July 2018
There but for the Grace of God (Go I) | ★★★★ | August 2018
Fabric | ★★★★ | September 2018
The Political History of Smack and Crack | ★★★★ | September 2018
Pickle Jar | ★★★★★ | October 2018
Cuckoo | ★★★ | November 2018
Chasing Bono | ★★★★ | December 2018
Laura | ★★★½ | December 2018

 

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