Tag Archives: Garrick Theatre

Brainiac Live!

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Garrick Theatre

Brainiac Live!

Brainiac Live!

Garrick Theatre

Reviewed – 2nd August 2019

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“a fantastic show for young audiences and their families”

 

This show is quite literally, explosive, in both its energy and experiments. It certainly delivers more than the snap, crackle and pop from your morning cereal! Based on the original Sky TV show made by ITV studios, Brainiac Live! is a series of experiments, using everyday situations and making them extraordinary. It is a dazzling display of how exciting science can be. The four β€˜Brainiacs’, fronted by β€˜Ned’ (Andy Joyce), have an infectious energy, so you can’t help but become engrossed in the action. The whole cast put their all into the production and it was evident that they were truly passionate about experiments.

Audience members enter the theatre that has been transformed into a seemingly abandoned laboratory. Hazard tape, upturned warning cones and old radioactive barrels make you feel as if you have stumbled upon a secret location where exciting and dangerous events are to come. This is echoed in the use of lighting (Glyn Edwards), which uses flashes of light that scan through the audience as if on a helicopter search. There is a sense of peril as often writer and director Andy Joyce, suggests that this is the first time the actors are trying the experiments. This made the already exciting series of spectacles even more gripping.

This is a fantastic show for young audiences and their families. At no point did I feel alienated for being an older audience member – we were welcomed with open arms. Whilst most of the jokes were aimed at children, there were comedic moments for the whole family. An example of this was when β€˜Raz’ (Maggie Frazer) tested the audience’s hearing by playing differently pitched noises. This marked the difference between young and β€˜more experienced’ ears, who could hear less.

The experiments flowed seamlessly between each other, leaving no moments for audience distraction. The aftermath required stage clean up and this time was cleverly filled by interactive videos on a large projector (Odinn Orn Hilmarsson). These included showing optical illusions, doing number quizzes and explaining why we mishear song lyrics. The content used was modern making the show feel relevant and up to date. However, there was only one female character and one small section making reference to female inventors, which felt a bit clunky and underdeveloped.

Ultimately, the loud bangs, colourful flares and smoke clouds steal the show. Although, this is not its only strength – this show has beauty, and brains. The content is informative too as it teaches about the science behind the experiments. At every point where there are loud noises, a warning is given to cover your ears, making it accessible to more nervous audience members. You simply can’t go wrong with this fun, exciting show that is carried by the sheer energy of the performers.

 

Reviewed by Emily Morris

Photography by Anna Kucera

 


Brainiac Live!

Garrick Theatre until 1st September

 

Previously reviewed at this venue:
Rip It Up – The 60s | β˜…β˜…β˜… | February 2019
Bitter Wheat | β˜…β˜…β˜…β˜… | June 2019

 

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

 

Bitter Wheat
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Garrick Theatre

Bitter Wheat

Bitter Wheat

Garrick Theatre

Reviewed – 19th June 2019

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“a richly entertaining piece of theatre driven by starry performances”

 

β€œNobody minded bad behaviour as long as the public didn’t get to hear about it” Louis B. Mayer once told his young star, Mickey Rooney. Since the birth of Hollywood this has been a truism, sustaining the myth of the movie mogul as profane, vulgar, cruel, rapacious and philandering. The only real change these days is that the public does get to hear about it more and more. There is currently one name that everybody will no doubt associate with Barney Fein, the sleaze-ball producer masterfully played by John Malkovitch in David Mamet’s β€œBitter Wheat”. But Mamet’s writing points the finger at a longer line of tycoons to produce an amalgam which adds more dimensions to the character. Malkovitch seizes this opportunity to add humour and human traces. But never sympathy.

Nobody escapes the machine-gun fire of Fein’s vitriol that turns to lasciviousness when he meets young actress, Yung Kim Li, to discuss her new film. He promises stardom, and we all know in return for what, especially as he has just had a high dose of a libido-enhancing drug that is just kicking in. Ioanna Kimbook catches on just as quickly with an impressive portrayal of the ingΓ©nue’s growing discomfort. It’s in this scene that Mamet’s wit really shines through, with faux-pas in abundance that soon take a darker turn when the inevitable career defining threat arrives.

Sadly, neither character comes out of this well. Nor does the second act which seems to be racing towards its rather farcical conclusion. Naturally, when the police are brought in Fein’s life falls apart. But the actress’ career is destroyed too, before it has started. Fein’s long-suffering secretary is also out of a job. Doon Mackichan downplays the contempt she feels for Fein perfectly – pitching it just right: high enough to be recognised but low enough to avoid the counterattack.

The subplots and sub characters that are tagged onto this central story seem unnecessary. An illegal immigrant who assassinates Fein’s terminally ill mother serves little purpose. The opening scene of the play, on the other hand, in which Fein refuses to pay a screenwriter his due fee is underexplored and unceremoniously discarded. It is in these moments that we are given a stronger insight into the psyche of the extraordinary character that is Barney Fein; and into the machinations of Hollywood. There is a quirkiness to the dialogue that is unmatched by the predictability of the sexual assault headlines.

Overall though, this is a richly entertaining piece of theatre driven by starry performances. Mamet manages to display his usual, exhilarating and unique flair with words, tackling an uncomfortable subject. If anything, however, the humour makes it all a bit too comfortable and doesn’t necessarily advance the issues it is addressing. In this case truth is stranger than fiction.

Reviewed by Jonathan Evans

Photography by Manuel Harlan

 


Bitter Wheat

Garrick Theatre until 21st September

 

Previously reviewed at this venue:
Rip It Up – The 60s | β˜…β˜…β˜… | February 2019

 

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