Flora Doble Archives - Page 40 of 41

Rejoicing at her Wondrous Vulva the Young Woman Applauded Herself

Ovalhouse

Reviewed – 13th May 2019

★★★★★

“will no doubt provide every viewer with a new perspective on the world”

Rejoicing At Her Wondrous Vulva The Young Woman Applauded Herself is a frank exploration of female sexuality, self-love and patriarchal expectations directed by Donnacadh O’Briain. Brain/Ego (Bella Heesom) and Clitoris/Appetite (Sara Alexander) battle it out for top spot in the female protagonist’s sex life while the former slowly beats the second into societal submission. The clitoris does not understand why she is seen as dirty and disgusting while the brain also often struggles to comprehend the flawed cultural logic she applies to her own sexual desire.

The play explores snippets of the young woman’s sexual growth from discovering masturbation to entering an unfulfilling relationship with a man who sees her as nothing more than a sex object. The protagonist learns that her sexuality and pleasure are embarrassing at a young age when schoolboys laugh at the idea of performing oral sex on a girl. Familiar phrases about female sexuality periodically flash up on a screen at the back of the stage – Virginity is precious. Vaginas are dirty. Sex is for men.

The play is interspersed with scenes of graceful movement (Liz Ranken) in which Alexander nudges and bites at Heesom as if a lioness. This theme is expanded in a meditation led by Alexander during the show where she uses the raw animalism and beauty of the lioness as an analogy for female sexuality. The screen at the back of the stage too shows the face of a lioness to emphasise this.

After the performance, Heesom and Alexander invite the audience to attend an open discussion to reflect on the issues raised in the play. The experiences enacted in the piece are revealed to be near universal amongst the female audience from being told vaginas smell like fish to feeling the need to satisfy a partner on a special occasion. Heesom and Alexander handle the group conversation with great care and sensitivity, and it is an appreciated and moving addition to the show.

The set (Elizabeth Harper) is well considered and helps to emphasise how natural female sexuality is. Heesom and Alexander move around a beautiful (lady) garden with flowers and plants hanging from the ceiling. The screen shows animated flowers growing and dying to reflect the revelations made on stage. The ground is covered in dark pebbles and a rectangular pool of water runs along the back of the stage. A wooden swing hangs in the back-left corner and reminds the audience that these harmful ideas about female sexuality are fed to us since childhood.

Heesom and Alexander are both stars and their chemistry is incredible. The two women move effortlessly between witty back and forth as Brain and Clitoris to sensual moments wrestling on the ground. Heesom’s final speech as the societally battered Clitoris is particularly powerful as she strips off her clothes and attacks the patriarchal constructs that have made female sexuality shameful. Rejoicing At Her Wondrous Vulva The Young Woman Applauded Herself will no doubt provide every viewer with a new perspective on the world.

Reviewed by Flora Doble

Photography by David Monteith-Hodge

Rejoicing at her Wondrous Vulva the Young Woman Applauded Herself

Ovalhouse until 26th May

Previously reviewed at this venue:

Medea Electronica | ★★★ | January 2018

Random Selfies | ★★★ | March 2018

This Restless State | ★★★ | March 2018

Standard:Elite | ★★★★★ | May 2018

Austerity & Me | ★★★★ | June 2018

The Croydon Avengers | ★★★ | June 2018

Undersong | ★★★★★ | June 2018

A Pocketful of Bread | ★★★ | September 2018

Click here to see more of our latest reviews on thespyinthestalls.com

Starved

Bread & Roses Theatre

Reviewed – 30th April 2019

★★★★★

“Black and Connaughton have fantastic chemistry and their conversations flow seamlessly”

Starved, a dark comedy written by and starring Michael Black and produced by Faded Ink Productions, explores the extremes that people are willing to go to when desperate. Faded Ink produce theatre that reflects working-class society and aims to represent communities and experiences that are not regularly shown in theatre and Starved is no exception.

Directed by Matt Strachan, Starved follows a young unnamed couple (Michael Black and Alana Connaughton) who are on the run for an initially unknown crime which forces them to squat in a bedsit in one of Hull’s roughest estates. They pass the time drinking, smoking and creating stories for the neighbours they can see out the window. They steal Rich Tea biscuits and Cup-a-Soup to survive, spending the little cash they do have on Glen’s Vodka.

Their relationship is highly toxic with conversations swinging from whispering sweet nothings to raging arguments in a matter of minutes. As the couple are slowly driven mad by their forced confinement, they start to consider whether it may just be easier to just face the consequences of their heinous actions.

The plot and script are strong, and a lot is packed into the short forty five minute running time. The couple discuss all manner of topics from their favourite childhood movies to the fictional rapper MC Devvo. The play however does end rather abruptly, and the plot could have perhaps benefitted from some expansion as it would have been interesting to delve further into the couple’s past and what led them to this squat.

The set is masterfully designed. The audience sits around a small rectangular stage which is enclosed by a web of rope to reflect the couple’s entangled entrapment. It is littered with rubbish, sleeping bags, cigarettes and a chair which creates a simple yet grotty environment. A rudimentary window is fashioned out of rope on one side and a large opening on another side acts as a doorway to the rest of the couple’s squatting complex. This helps open up the stage while simultaneously keeping the space confined.

There is little done with the lighting apart from at the play’s end where the set and actors are made overwhelming bright before a cut to black. The lighting is therefore very natural and keeps the play grounded in the harsh reality of this young couple. There are also no sound effects used in the play which keeps the audience’s focus on the yo-yoing conversations of the two squatters.

Black and Connaughton have fantastic chemistry and their conversations flow seamlessly. They joke, they argue, they kiss, and it is all thoroughly believable. Despite the short running time, their relationship is well explored, and the audience can sympathise with the cognitive tension between not wanting to be alone and staying in a toxic dynamic.

Starved is a powerfully intimate insight into a working-class couple’s struggle to survive in a system stacked against them and is well worth watching.

Ovalhouse

Reviewed – 13th May 2019

★★★★★

“will no doubt provide every viewer with a new perspective on the world”

Reviewed by Flora Doble

Photography by David Monteith-Hodge

Rejoicing at her Wondrous Vulva the Young Woman Applauded Herself

Ovalhouse until 26th May

Previously reviewed at this venue:

Bread & Roses Theatre

Reviewed – 30th April 2019

★★★★★

“Black and Connaughton have fantastic chemistry and their conversations flow seamlessly”

Starved is a powerfully intimate insight into a working-class couple’s struggle to survive in a system stacked against them and is well worth watching.

Reviewed by Flora Doble

Starved

Bread & Roses Theatre until 11th May

Last ten shows reviewed at this venue: