★★★★

“In such an absurd story, the cast quite literally lose the plot, but the diversions are welcome, leaving the audience in hysterics”

In this warped retelling of Eric Carle’s childhood classic, a loathsome, very hungry caterpillar fails to metamorphose as no cocoon will stretch around his bulging belly. Instead of becoming a handsome butterfly, the Caterpillar King (Nathan Charles) is a raging tyrant with a hunger for raw red meat. When the king meets his match in a beautiful butterfly queen (Ted Vaudrey) from an alternate universe, the servile Steve (Murray Burgess) – or is it Simon? – nervously suggests the king share his food with his kingdom. Will the king impress the queen and secure the long-term relationship he desires?

From the first rhyme spoken in unison, The Very Well-Fed Caterpillar is high energy and high speed. Movement sequences are slick and well-rehearsed to match crafty writing which introduces the setting and tone of the piece concisely. The pace gives an impactful start, but it does turn out to be a detriment as gags are missed throughout the play. With such an abundance of quickfire jokes the enunciation of all the actors could be improved. Aside from this and a few dad jokes that fall flat, the play is laugh-a-minute with popular references to Shrek and Star Wars, and a spot-on impression of Gordon Ramsay in Hell’s Kitchen. You could definitely get more from this show with a second watch.

The world Red Biscuit Theatre create is bonkers but relatable, featuring some tense group work and a passive aggressive exchange over the decision to name a character Neil. Theo Moore and Craig Unadkat are particularly funny multi-rolling as doors, a bell tower and conflicting members of the Cape Caterpillar Liberation Club. Human props play a large part in the story, used nicely both to transform the blank stage and as an illusion that can be deconstructed for comic relief. In such an absurd story, the cast quite literally lose the plot, but the diversions are welcome, leaving the audience in hysterics. The hour of silliness is definitely enjoyed by the cast and audience alike, which is a thrill to see.

Most impressive is how the company deliver a moral message of redemption amidst their twisted tale. Their ability to devise this Pythonesque physical comedy from the loose plot of a children’s book suggests some promising future work from the troupe.

Reviewed by Beth Partington

Photography by Caitlin Plimmer

Jailbirds

Etcetera Theatre

Reviewed – 5th December 2018

★★

“its imaginative concept is held back by underwhelming acting and superfluous layers of choreography, staging and lighting”

In a maximum-security prison, deep underground, Moira and Bheur assess a serial killer. During a set period of five days of questions and conversations, Heath Dane gradually turns the tables and forces them to examine themselves, with revealing consequences. Writer, Luke Culloty, adds a twist to this Hannibalesque story but its imaginative concept is held back by underwhelming acting and superfluous layers of choreography, staging and lighting. Instead of focusing on setting an atmospheric scene of apprehension to start with (Heath isolated in his subterranean cell, for example) we enter the theatre to the sound of birdsong and an unnecessary characterisation tableau.

It is therefore up to the cast to initiate the suspense. Molly Jones’ portrayal of Heath has a disturbing side but we miss the contrasting dimensions of a psychopath and she behaves more like a sassy playground bully. As Moira, the passive, detached evaluator, Stella Richt lacks backbone and, often inaudible, immediately comes across as the vulnerable victim. Pikson, played by Fred Woodley Evans, seems in a continuous state of nerves, presumably due to Heath’s jeering at him but nevertheless surprising for a hardened security guard. Then things begin to get confusing when Bheur (Kirsty Terry) and Evangelina Burton as Officer Oml appear, attempting to take control of the proceedings. Even Culloty himself joins them as participating director/stage manager. What should be a build-up of tension culminating in an inevitable climax feels like a sudden precipitous outburst of passion.

The lighting produces some supporting special effects but could help intensify a feeling of claustrophobic unease and also take care not to leave people speaking in the dark (though perhaps this is intentional?). A few varied fragments of music set out to illustrate Heath’s ‘genius’ mind but the abstract movement sequences do more to detract from our engagement with the action than connect the scenes and the characters lose their identity.

Understandably, new-born theatre companies are giving young talent the opportunity to perform and grow. ‘Jailbirds’ has all the potential to be a powerful piece of theatre, full of suspense and inscrutability, but it would be interesting to use experienced actors and focus on the interpretation, pacing and dynamics of the script. Less can be more.

Etcetera Theatre

Reviewed – 9th December 2018

★★★★

“In such an absurd story, the cast quite literally lose the plot, but the diversions are welcome, leaving the audience in hysterics”

Most impressive is how the company deliver a moral message of redemption amidst their twisted tale. Their ability to devise this Pythonesque physical comedy from the loose plot of a children’s book suggests some promising future work from the troupe.

Reviewed by Beth Partington

Photography by Caitlin Plimmer

The Very Well-Fed Caterpillar

Etcetera Theatre

Last ten shows reviewed at this venue:

Etcetera Theatre

Reviewed – 5th December 2018

★★

“its imaginative concept is held back by underwhelming acting and superfluous layers of choreography, staging and lighting”

Reviewed by Joanna Hetherington

Photography courtesy Luke Culloty

Jailbirds

Etcetera Theatre until 8th December

Last ten show reviewed at this venue:

JOIN US