Harriet Corke Archives - Page 9 of 18

Unsung

King’s Head Theatre

Reviewed – 14th April 2019

★★★½

“there are a few too many abstract scenes where dialogue is paused in favour of movement”

Can you calculate achievement? Can you quantify recognition? Is it possible to predict, without fail, the value of a legacy?

Ada Lovelace thinks so. But somehow her equation is undermined by an unexpected factor: gender. Whenever the subject is female, the value of recognition is minimised, sometimes erased entirely. Determined to explore this idea further, Lovelace gathers female representatives from four areas of society: science, education, the military, and the arts. Together, they endeavour to understand why, in the presence of F, A does not equal R.

Written by the Unsung Collective’s Lisa Holdsworth and performed by four of its members, Unsung is sharp, engaging, and surprising. I never thought I’d see two Victorian women, a war veteran, and a playwright solving an equation inside a submarine, but I’m glad I have. The combined visual of Antony Jones’ set (pipes running up the walls, noticeboards heavy with ideas), frustrated pacing, and khaki boiler suits suggests four women on a mission, boldly venturing into difficult and dangerous territory.

The most memorable aspect is the performers themselves. Olivia Race captivates as Ada Lovelace, whose confinement cannot stop her mathematical mind. She is passionate, enthusiastic, and personable, guiding the audience with gentle commitment. Kirsty Pennycook is dry-witted and stoic as Sophia Jex-Blake, the first female doctor in Scotland. Her anecdotes about emasculated professors and rioting male students are told casually and caustically; Pennycook makes it clear that Jex-Blake was a force to be reckoned with. Lilian Bader, one of the first women of colour to serve in the military, is portrayed with warmth by Riana Duce. She radiates love and respect for her work, but is not blind to the ingratitude of the country that she serves. Claire-Marie Seddon’s performance as Andrea Dunbar, author of Rita, Sue and Bob Too, is the most enjoyable – perhaps because it is the most real. It is not hard to laugh with Dunbar, or feel for her as she is beaten by her boyfriend, but it is sometimes hard to watch knowing her life’s tragic conclusion.

Unfortunately, other aspects of the show dampen the effect of these performances. The background music is often too invasive, stifling the dialogue and its effect. Moreover, there are a few too many abstract scenes where dialogue is paused in favour of movement. This can be a little frustrating: I would much rather hear the women share their stories. Such moments are the highlight of the show, but sadly there weren’t enough.

Despite its flaws, Unsung succeeds in telling the stories of these four forgotten women. With strong performances and a striking visual style, it tackles their lives with the same creativity, individuality and determination with which they were lived.

Reviewed by Harriet Corke

Unsung

King’s Head Theatre

Last ten shows reviewed at this venue:

Beauty and the Beast: A Musical Parody | ★★★★★ | November 2018

Brexit | ★★★★★ | November 2018

Buttons: A Cinderella Story | ★★★★ | November 2018

Momma Golda | ★★★ | November 2018

The Crumple Zone | ★★ | November 2018

Outlying Islands | ★★★★ | January 2019

Carmen | ★★★★ | February 2019

Timpson: The Musical | ★★★ | February 2019

The Crown Dual | ★★★★ | March 2019

Undetectable | ★★★★ | March 2019

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

★★★★

“an impressive debut that manages to strike a chord whilst taking artistic risks”

In the programme notes for their debut show, Contingency Theatre suggest that, ‘We are more comfortable yet more insecure than we’ve ever been’. It’s a fact that’s hard to argue with. Expectation looms over our heads like storm clouds whilst we attempt to convince everyone that, in our world, everything is sunny and bright. Nowhere is this truer than in our working lives, where the pressure of success is the source of secret anxiety. Part sharp-tongued satire and part hypnotic piece of physical theatre, George tackles this very real and relevant experience in an evocative and otherworldly manner.

The show traces George’s journey from his idle days in the village to his arrival in the city. Initially reluctant to leave his old life behind, he soon becomes swept up in cosmopolitan life – but to what end? Is this what George really wants? Will conforming to society’s expectations bring him happiness?

What makes the piece so striking is how closely it engages with our innermost fears. George would rather play in the village than go to the city, but such lack of ambition is unthinkable. He is tormented by his mother and friends, who chide him with phrases like, ‘You don’t want to get left behind, do you?’ Despite living the life he wants, insecurity causes him to abandon it for the sake of conventionality. His friends Nick and Cam are anxious and eager to please. Their worth is determined by J, the mysterious boss who shapes their careers; without him, they have no sense of self. The way in which they strive for validation through success – whilst losing themselves in the process – captures this all-too-common inner conflict perfectly.

It’s hard to believe that this is Contingency Theatre’s first full-length show. Thanks to their bold vision, they already feel like a fully-fledged professional company. Their physical theatre is clever, controlled, often breath-taking. Their energy and commitment makes this form of expression just as powerful as any written script, if not more so. The bare stage and minimal props let the movement speak for itself, and is a great reminder that the human body can create believable worlds just as well as extravagant sets.

The three performers are highly watchable. Barbara Blanka commands attention as George. Despite the reluctance of the audience to interact with her, Blanka still manages to evoke their sympathy and believe in her portrayal. Max Percy and Igor Smith give the show a sinister edge: their portrayal of George’s mother is especially creepy. Yet, like Blanka, they both tap into the vulnerability of their characters to great effect.

George is an impressive debut that manages to strike a chord whilst taking artistic risks. The result is a show that is emotionally familiar, visually strange, and exciting to watch.

Reviewed by Harriet Corke

King’s Head Theatre

Reviewed – 14th April 2019

★★★½

“there are a few too many abstract scenes where dialogue is paused in favour of movement”

Can you calculate achievement? Can you quantify recognition? Is it possible to predict, without fail, the value of a legacy?

Despite its flaws, Unsung succeeds in telling the stories of these four forgotten women. With strong performances and a striking visual style, it tackles their lives with the same creativity, individuality and determination with which they were lived.

Reviewed by Harriet Corke

Unsung

King’s Head Theatre

Last ten shows reviewed at this venue:

Camden People’s Theatre

Reviewed – 12th March 2019

★★★★

“an impressive debut that manages to strike a chord whilst taking artistic risks”

George is an impressive debut that manages to strike a chord whilst taking artistic risks. The result is a show that is emotionally familiar, visually strange, and exciting to watch.

Reviewed by Harriet Corke

George

Camden People’s Theatre

Previously reviewed at this venue: