Tag Archives: Harriet Corke

Dressed
★★★★★

Battersea Arts Centre

dressed

Dressed

Battersea Arts Centre

Reviewed – 26th February 2019

★★★★★

 

“It is rare to see performers as joyous and free as these four women are”

 

Lydia Higginson didn’t really know where dressed. would fit amongst the thousands of shows at the Edinburgh Fringe. She didn’t know what reviewers would say. She didn’t know what she wanted them to say, either, and so what they said didn’t feel right.

Now dressed. has won a Fringe First Award, transferred to Battersea Arts Centre, and is about to go on tour. But these accolades don’t make the reviewer’s job any easier. The fact remains that this is a unique show that defies categorisation, and that basic words like ‘hilarious’ or ‘heart-warming’, can’t hope to describe.

So, what is the show about? On the surface, it is about the power of creativity as a means of overcoming trauma. After being stripped at gunpoint, Lydia moves back home, locks herself in her room, and learns to sew. The first four garments she makes are costumes; by January 2017, she has made her entire wardrobe and given all her shop-bought clothes away. In dressing herself, Lydia is able to reclaim herself, to take back the body that was wrenched out of her control.

On its own, Lydia’s story is arresting and, dare I say it, inspiring. But the thing that makes it so special is the way in which it is told. Lydia performs alongside three of her friends – Josie, Olivia, and Nobahar – who dance with her, sing with her, and wear her costumes. But, most importantly, they enjoy themselves. In spite of the dark subject matter, dressed. is overwhelmed by a sense of joy. It feels as though they made this show purely because they wanted to make it: not out of vanity, but because they felt that this story deserved to be told. No it’s not polished, and yes the microphone wires keep getting caught on bits of the set – but who cares? It is rare to see performers as joyous and free as these four women are.

The roughness of the show should not be mistaken for a lack of professionalism: it is beautifully executed. All four performers are energetic and charismatic, each contributing something unique. Olivia Norris is a mesmerising dancer; Nobahar Mahdavi is a captivating singer. Josie Dale-Jones’ subtle humour brings comic relief, whilst Lydia herself is unflinchingly honest and direct. Lucy Adams’ lighting design matches and enhances the changes in tone, whilst the relatively bare stage is perfect for both dance numbers and quiet moments of sewing.

If I had to choose one word to describe dressed., it would be “celebratory”. It is a celebration, not only of creativity, reclamation, and Lydia herself, but of friendship. It is the story of four girls who met at a dance class when they were ten years old, and who now, as women, exemplify the beauty and power of friendship during dark times. Their love, for each other and for what they have created, is a reminder that theatre cannot be made without it.

 

Reviewed by Harriet Corke

Photography by  Camilla Greenwell

 


Dressed

Battersea Arts Centre until 2nd March

 

Previously reviewed at this venue:
How to Survive a Post-Truth Apocalypse | ★★★ | May 2018
Rendezvous in Bratislava | ★★★★★ | November 2018

 

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As a Man Grows Younger

As a Man Grows Younger
★★★

Jack Studio Theatre

As a Man Grows Younger

As a Man Grows Younger

Jack Studio Theatre

Reviewed – 21st February 2019

★★★

 

“David Bromley brings Colyer’s words to life with impressive energy”

 

Italo Svevo was a correspondence clerk, then a businessman. Now, in his sixties, he is finally getting recognition for his writing. Thanks to his friend James Joyce, his new novel is the talk of Paris. One reviewer even says he’s a genius: ‘the Italian Proust’. But it’s difficult to enjoy such success when Fascism has taken over your country. When, Svevo wonders, will Mussolini turn his attention to him? When will his work be banned? Having just emerged, is he about to disappear?

Howard Colyer’s monologue has Svevo ruminating on this and much more, as he waits for the reviews of his new play. As his mind runs back and forth between his present fear and past triumph, Svevo himself runs up and down a ladder and all around the room, occasionally bumping into a fragment of the past that has found itself on the floor or in an old suitcase. It’s like his mind has exploded and he’s just started picking up the pieces. Karl Swinyard stuffs Svevo’s house in Trieste with details: a noticeboard is covered in clippings, dates, and the note “L.C.” (Last Cigarette), an old chest lies drowned in a sea of books. The shuttered windows are a reminder of the hidden world outside, but nothing, not even Mussolini himself, can touch Svevo’s ancient typewriter or worn violin. It is beautiful and evocative, a little corner of the world trapped in its own time.

David Bromley brings Colyer’s words to life with impressive energy. He gives Svevo lightness and likability, making his stories interesting and his eccentricities charming: it is difficult to dislike him. Bromley also does several turns as important people in Svevo’s life – Joyce, Mussolini, suspicious mother-in-law Olga – and executes them with a comic touch. It feels as though he is having fun in the role, which makes him easy to watch.

But, whilst Bromley gives more than enough to this production, an important figure is missing: Joyce, who shaped so much of Svevo’s life. Although several anecdotes are told, they are not the highlights they deserve to be, and become lost within Colyer’s muddled structure. His attempt to write in a Modernist style is successful, but it comes at the expense of some of the key moments. Whilst some events come to life before our eyes with stunning realness, others feel flat. Given that Svevo led such a varied life, it is a real shame that it cannot be presented with the same flair with which it was lived.

As a Man Grows Younger isn’t a play that will change the world, but it is still a reminder of the power, beauty and necessity of words in a time of crisis. For a man who thought he was about to disappear, Svevo and his story remain more vibrant than ever.

 

Reviewed by Harriet Corke

Photography by  Tim Stubbs Hughes

 


As a Man Grows Younger

Jack Studio Theatre until 23rd February

 

Last ten shows reviewed at this venue:
Stepping Out | ★★★ | June 2018
Back to Where | ★★★★ | July 2018
The White Rose | ★★★★ | July 2018
Hobson’s Choice | ★★★★ | September 2018
Dracula | ★★★½ | October 2018
Radiant Vermin | ★★★★ | November 2018
Sweet Like Chocolate Boy | ★★★★★ | November 2018
Cinderella | ★★★ | December 2018
Gentleman Jack | ★★★★ | January 2019
Taro | ★★★½ | January 2019

 

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