Tag Archives: Hen and Chickens Theatre

Maybe I Do ... ?

Maybe I Do…?

★★★★

Hen and Chickens Theatre

MAYBE I DO…? at the Hen and Chickens Theatre

★★★★

Maybe I Do ... ?

“Camblor is a masterful and mad comic performer. She is definitely one to keep an eye out for”

 

Maybe I Do …? is a wild and joyous whirlwind, taking us through the romantic disasters of a woman who can’t help but hear wedding bells every time a man suggests a casual coffee. Carmen is a mess. It’s her wedding day, she’s marrying the wrong man, he’s in prison AND the wedding is on Zoom. She embarks on the tale of her romantic life, addressing the priest and gathered virtual congregation. What follows is a whistle-stop tour of the men she’s met and dated since moving to the U.K., as well as some very strong Spanish and British cultural commentary.

Writer/performer Cova Camblor’s monologue is skilled and consistently funny, pulling out witty one-liners, great Spanish/English misinterpretations and an impressive level of physical comedy. It’s a practised and confident performer who can play with silence, and Camblor (as well as director Anca Vaida) knows she can make it work. Early on, Camblor mimes her nonchalant reaction to a text from the man of her dreams. As the audience roared, we knew we were in safe hands. Camblor is very much in control, and each segment is well-structured and beautifully executed. Sometimes the transitions between each wild story feel a bit undercooked, but the energy and joy of the performance gives the piece a strong drive.

It’s a simple set, just a table and chair with an iPad (the whole piece is a Zoom call) and Carmen’s phone, on which her sexy love interest occasionally texts her. Camblor is decked out in full wedding dress and veil, and struts around the space, confidently taking up space. There are two moments of voiceover from the priest, which creates really useful bookends for a piece which could risk ambling on indefinitely. The lighting is simple and shifts for some of the anecdotes, helping to shake up the mood for each story.

Some of the plot doesn’t quite come together, we never do get to the bottom of why Steve Stevens is in prison. But it doesn’t really matter. In some moments though the energy does sag a little. A lot of the comedy comes from Camblor’s dramatically thick Spanish accent, but at times it can be a bit hard to follow, which means some of the well-crafted jokes fall a bit flat.

However, for such a short piece, it really packs in the laughs and Camblor is a masterful and mad comic performer. She is definitely one to keep an eye out for.


MAYBE I DO…? at the Hen and Chickens Theatre

Reviewed on 31st July 2023

by Auriol Reddaway

Photography by Borja López

 

 

 

Previously reviewed at this venue:

 

Lautrec | ★★★½ | August 2022

Maybe I Do…?

GMaybe I Do…?

Click here to read all our latest reviews

 

Lautrec

Lautrec

★★★½

Hen and Chickens Theatre

LAUTREC  at the Hen and Chickens Theatre

★★★½

Lautrec

“Both Rattigan and Drisch look the part in detailed and timely costumes”

 

Comte Henri Marie Raymond de Toulouse-Lautrec-Monfa was a French painter whose art gained significant notoriety through its colourful and lively depiction of the theatrical life of Paris in the late 19th century. Producing over 737 canvases, 363 prints and posters and over 5,000 drawings in a career of less than 20 years, Toulouse-Lautrec was a powerhouse of the post-Impressionist movement.

Shadowmask Theatre’s new play Lautrec – directed by Natalie Winter – explores the success of this incredible artist but also his tragic fate. Born to nobility, Toulouse-Lautrec – played by Fergus Rattigan – suffered from stunted growth, his legs never healing properly from injuries in his early teens. In his despair, the young man turned his attention to creative endeavours whilst also embracing a philosophy of complete hedonism which included drinking to excess and frequenting brothels. Marie Drisch joins Rattigan on stage to play an impressive eleven characters – from Lautrec’s mother to the co-founder of the Moulin Rouge – all of which hold a significant place in the artist’s rise and fall.

Rattigan is fantastic as the play’s tragic hero, initially bursting onto stage speaking impassioned French before adapting for his English audience. He mixes the two languages well throughout with his accent rarely slipping. Our lead brings a great comedy to the role – a particular highlight being his first rendezvous with a prostitute – but he really shines in Lautrec’s final scenes in a psychiatric hospital where he suffers from hallucinations due to syphilis.

Drisch is a fine partner to the troubled artist, but her multitude of roles often makes her feel stretched thin as she frequently must throw on a new hat or accessory to signify the entrance of a new character. Drisch is best when she is allowed to settle into a role such as in an extended scene as Lautrec’s friend Yvette Guilbert where they discuss the artist’s frustration at never being considered a sexual option due to his disability. The play packs a lot into its hour runtime, and it is Drisch who unfortunately suffers most.

The theatre space is successfully utilised – a sofa, a small table and chairs and various props including a sketch book, a bottle of wine and numerous concealed hip flasks. Some of Lautrec’s most famous paintings and sketches decorate the surrounding walls – they are revealed throughout the performance as we move through the artist’s life. This is highly effective and makes the play’s final scenes even more poignant. One suggestion would be to litter the stage with more debris such as empty bottles and dirty clothes as the painter’s life spirals downwards.

Sound and lighting is basic and rarely used to its full potential. There are a few sound effects – dogs barking off stage, the sound of drinks pouring – but they are utilised inconsistently, and the actors unfortunately do not react in good time to their deployment. Lighting could be used for exciting results such as to emulate the excitement of the cabaret stage but instead remains static throughout except for the final scenes where Lautrec is on his deathbed. This feels like a missed opportunity and could really enliven the hedonistic portions of the play.

Both Rattigan and Drisch look the part in detailed and timely costumes. Notably, Rattigan becomes more and more dishevelled throughout the performance, removing his signature bowler hat and smart jacket as he descends into madness.

Lautrec is greatly successful in spotlighting the work and life of the formidable Toulouse-Lautrec and its vignettes will have you googling the artist for some time. With some polish and refinement, this play will go far.

 

Reviewed on 15th August 2022

by Flora Doble

PART OF CAMDEN FRINGE 2022

 

 

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Click here to read all our latest reviews