Tag Archives: Georgie Staight

Eigengrau

★★★★

Waterloo East Theatre

Eigengrau

Eigengrau

Waterloo East Theatre

Reviewed – 13th September 2019

★★★★

 

“Georgie Staight’s no-frills revival is powerful and chilling”

 

Penelope Skinner’s Eigengrau, originally produced in London in 2010, follows the intersecting lives of four young people struggling to get by in London. Cassie works for a feminist organisation that lobbies parliament. Rose believes in fairies and star signs and true love. Mark is a womanising marketing bro. Tim, suffering from depression, barely manages his shifts at a fast food takeaway. Their lives intertwine with devastating consequences in this modern-day Grimm’s fairytale.

Director Georgie Staight’s no-frills revival is powerful and chilling. With a sparse, efficient set (Bex Kemp) – just a few wooden boxes used as benches and tables – Staight boldly strips the show down to its leanest form. Fast-paced and highly entertaining, there isn’t a dull moment in its nearly two-hour runtime.

Staight’s faith in the strength of her cast to carry the show barefaced, without the padding of excessive design, is not misplaced. Four well-selected actors deliver accomplished performances. George Fletcher is easily convincing as the cocky, manipulative Mark. Callum Sharp is subtle yet nuanced as the harmless – but perhaps not quite – Tim Muffin. Isabel Della-Porta wholly owns her role as the strong but still immature feminist Cassie. And Katie Buchholz shines, earning her place as the star of the show, with an exceptional performance as the idealistic, desperate Rose. Buchholz is captivating: fluttery and electric with madness at all of her edges. She effortlessly draws focus and holds it for the duration she’s on stage. Like a violin string wound too tight, she keeps us on edge, uneasily wondering when she’ll snap. Cassie says she’s a little bit afraid of Rose. We are too.

Although there are moments of the play that feel dated – in the post-Metoo era, a ‘feminist’ is no longer a curiosity – Staight is smart in realising the many ways Eigengrau is immediately relevant. Men pretending to be woke (or worse, believing they are), while demeaning and manipulating women, are still sharks in 2019 waters. And the overall feminist message still rings true: Rose embodies the damage done by years of consuming misogynist ideology packaged as fairytales and rom-coms. Disinterest from men means she’s deficient. There’s no relationship that can’t be fixed by the right dress and a grand gesture. It’s no wonder her optimism, at the age of twenty-seven, is beginning to take on a manic quality. Cassie wants Rose to see the world for what it is: cruel and oppressive, full of untrustworthy people. But Rose shuts her eyes to any evidence that contradicts her belief the world is a good place. If the world is hideous, isn’t it better to be blind?

Eigengrau is the name for the shade of black seen by the eye in perfect darkness. With this revival, Staight is shrewd asking the woke generation of 2019 – who see, daily, the harsh realities of a sinister society no longer bothering to disguise its hate – how tempting, how soothing, must eigengrau be? To shut your eyes, shut it all out, even for a moment? But while eigengrau may seem like a safe haven, Skinner’s story reminds us of the danger in seeking it. No progress can be made in darkness. There’s no going back to sleep, now that we’re awake.

With this production of Eigengrau, Staight is asking feminist questions that, nine years later, audiences still need to hear. Don’t miss the opportunity to see Skinner’s enthralling, razor sharp play revived by a strong cast.

 

Reviewed by Addison Waite

Photography by Lidia Crisafulli

 

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Eigengrau

Waterloo East Theatre until 22nd September

 

Previously reviewed at this venue:
Doodle – The Musical | ★½ | January 2018
Unburied | ★★★★★ | March 2018
Romeo & Juliet | ★★ | June 2018
Liberty Rides Forth! | ★★★★★ | October 2018
A Christmas Story | ★★★½ | November 2018
The Greater Game | ★★ | November 2018
Summer Street | ★★★ | May 2019

 

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Chutney – 3 Stars

Chutney

Chutney

The Bunker

Reviewed – 14th November 2018

★★★

“There are a few moments sprinkled throughout where the asides subside, and the story and characters are allowed to actually breathe”

 

Chutney is a play brimming with potential – an intriguing premise, intelligent intentions, slick design, and a talented pair of actors helming the two-hander. Despite having all the recipe for brilliance, however, not all the ingredients are used effectively.

Reece Connolly’s play aims to transpose the murderous couple dynamic seen in the likes of Macbeth and Sweeney Todd to the thoroughly middle class Gregg (Will Adolphy) and Claire (Isabel Della-Porta). After primally killing a dog one evening, the pair ignite a bloodlust that they find in equal parts exhilarating and terrifying as it consumes their lives, and the paranoia of their misdeeds starts to infect their relationship. It’s an exciting setup for a story, but the script unrelentingly dismisses the old adage of ‘show, don’t tell’ with a constant barrage of narration and exposition to the audience; having the characters incessantly explain what they are thinking at any given moment removes all notion of subtext, and frequently kills the dramatic potential for scenes. Claire and Gregg will often deliver intercutting monologues to the audience which would have been more far more engaging as dialogue between the two where they are forced to challenge and change each other. Instead, it at times feels like two one-person shows simply running parallel.

It’s a shame the script falters in this way, as Connolly’s writing is often witty, sharp, and poetic. There are a few moments sprinkled throughout where the asides subside, and the story and characters are allowed to actually breathe – moments such as Claire drunkenly dancing with a crossbow, the couple reservedly eating pasta, and a particularly enthralling confrontation in the second act are all stellar, and made it all the more disappointing that more of the script did not place an equal amount of faith in the audience to engage with the story. It is also in these moments that Adolphy and Della-Porta are allowed to shine, finding opportunities to bring depth and nuance to the characters, and delivering energetic and intense performances.

The design helps to gloss over the script’s shortcomings, with Matt Cater’s sumptuous lighting and Ben Winter’s biting sound lending weight and impact to dramatic peaks that would have otherwise been lacking. Jasmine Swan’s aesthetically delightful middle-class kitchen set also depicts the world of the play very effectively, and Georgie Staight’s direction incorporates this with the actors to create some striking imagery.

Ultimately, however, it all feels hollow. It’s always concerning when the writer’s note in a programme claims the play is achieving or exploring ideas that simply aren’t present in what transpired on stage. Chutney, unfortunately, is one such example of this. It aims to critique the middle-class utopia of Britain but, for a play which spends the majority of its runtime lambasting the audience with quips and asides, finds itself with very little to say.

 

Reviewed by Tom Francis

Photography by Rah Petherbridge

 


Chutney

The Bunker until 1st December

 

Previously reviewed at this venue:
Ken | ★★★ | January 2018
Electra | ★★★★ | March 2018
Devil With the Blue Dress | ★★ | April 2018
Reboot:Shorts | ★★★ | April 2018
Conquest | ★★★★ | May 2018
Grotty | ★★★★ | May 2018
Guy | ★★★½ | June 2018
Kiss Chase | ★★★ | June 2018
Libby’s Eyes | ★★★★ | June 2018
Nine Foot Nine | ★★★★ | June 2018
No One is Coming to Save You | ★★★★ | June 2018
Section 2 | ★★★★ | June 2018
Breathe | ★★★★ | August 2018
Eris | ★★★★ | September 2018
Reboot: Shorts 2 | ★★★★ | October 2018
Semites | ★★★ | October 2018

 

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