Tag Archives: Jacksons Lane

Intronauts

Intronauts
★★★½

Jacksons Lane

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Intronauts

Intronauts

Jacksons Lane

Reviewed – 11th January 2019

★★★½

“has all the elements of an excellent show, that is until it comes to a very abrupt ending, with no real resolution”

 

When thinking of the future, we often imagine sleek outfits, efficient and sophisticated machinery, and a generally effortless way of living. This is decidedly not so in Emma Williams’ ‘Intronauts’ where temperamental machinery is still being given a good kick to get it working again, and that “deep itching in my anus” is still a daily struggle.

Set in the near-future, our unnamed protagonist has purchased a micro-cleaner who lives inside him and with whom he has an ongoing dialogue via messenger, directing her to resolve any internal queries. The aforementioned anus itch, for example, is settled with a good cleaning.

Employer and Intronaut never have any face-to-face interaction, and whilst physically they couldn’t be any closer (one is inside the other, after all), they are both deeply lonely. This seems to be a satirically delivered comment on technology’s simultaneous ability to bring us closer, and yet further apart than ever.

Vacillating endlessly over the right background colour for a logo design, trying and failing to learn simple dance steps (alone), and playing what appears to be a very boring, but somehow stressful game of ‘highfive’ with his computer, Adam Fuller imparts a relatable melancholy in the pointlessness and isolation of his activities. He wears a dressing gown throughout, which may be intended to imply a comfy futuristic uniform, in which case, more effort might have been made, or, seeing as he appears to be working from home, he’s showcasing the freelance life, in which case it’s spot-on.

Emma Keaveney-Roys, playing the Intronaut, is funny and endearing, using brilliant physical comedy throughout. Due to the structure of the play, she can only communicate something to the audience by talking to herself which could easily feel forced, but comes off as natural and engaging.

Chris Pirie seems to claim the role of ‘special effects’, and he does so deftly, playing the stage-hand, puppeteer, and various body cells in inflatable costumes (as well as set and costume designer, according to the credits!) Whilst the set is fairly basic, Pirie brings it to life, from characterful movements of ‘smart’ technology, to tracheal cilia ominously grabbing at Keaveney-Roys’ ‘spaceship’.

The whole play takes place behind a transparent projection screen, used to create both Fuller’s seemingly ubiquitous computer interface, and his innards where the Intronaut resides. This is very effective, and elevates the production value tremendously. 

Simon Preston’s accompanying musical composition is a mishmash of 80s computer game effects, dreamy soundscapes, and bass-heavy dance. He successfully enhances moments of comedy and pathos, as well as lending a sense of danger to some of the Intronaut’s missions – not so easily done when she is supposed to be crawling around inside her owner’s anus.

This has all the elements of an excellent show, that is until it comes to a very abrupt ending, with no real resolution. Wrapping up after only an hour, it seems more like the first half of a really great story. Perhaps there’ll be an ‘Intronauts: Part 2’, and judging by the first half, I’d definitely go see it.

 

Reviewed by Miriam Sallon

Photography by Emma Windsor

 


Intronauts

Jacksons Lane until 13th January as part of the London International Mime Festival

 

 

Previously reviewed at this venue:
From Ibiza to the Norfolk Broads | ★★★ | March 2018
La Traviata | ★★★★ | May 2018

 

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La Traviata – 4 Stars

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Traviata

La Traviata

Jacksons Lane

Reviewed – 27th May 2018

★★★★

“proves that you do not need the opulence of “grand opera” to engage an audience to its utmost”

 

There was a time during the last century when Verdi, inexplicably, had fallen out of fashion. Today, however, his name is synonymous with “grand opera”, and yet his music also pervades our culture far beyond the opera house. One of the main reasons why his music resonates so strongly more than a century after his death is the sheer emotional depth of his compositions. Verdi was perhaps one of the most accessible composers of his time and is still a mainstay for today’s audiences.

Sophie Gilpin’s production of “La Traviata” for ‘Hampstead Garden Opera’ is a case in point, and proves that you do not need the opulence of “grand opera” to engage an audience to its utmost. She takes us into the era of the ‘swinging sixties’: a world of extravagant parties, sexual liberation and political scandals. Against this backdrop, Violetta is a fiercely independent socialite who, recovering from prolonged ill health, meets the charismatic Alfredo at one of her parties with whom she escapes to the country abandoning her former life.

The two principal roles are undoubtedly challenging. But let’s come to them in a moment. The touchstone for this particular opera is the ‘Prelude’, a stirring melody for strings, and from these very first moments we know that we are in good hands. Musical Director Sam Evans has a dozen assured musicians at his fingertips and, although working from an orchestral reduction, the dynamics match those of a full orchestra.

Equally strong are the cast; one cannot help being swept along by the natural energy of the performances. Gilpin excels at drawing out the actor within the singer and her composed yet positive direction accentuates the emotions of the characters. There is an ease, too, that makes the intricacies of the ensemble score seem effortless. And to the fore is Julia Bachmann’s outstanding Violetta. The strength of her soprano cuts to every corner of the auditorium, but within a semiquaver she can whisper the pain she feels as she makes the ultimate sacrifice. Sergio Augusto’s Alfredo is seductively hypnotic in his mix of valour and devotion. There is nothing he wouldn’t do for Violetta, and we truly sense the heartbreak when his father forces Violetta to break off their liaison for the sake of his ministerial career.

This reference to the political scandals of the sixties, however, does seem like a token gesture to place the piece in its context. Beyond this, and the multiple lighting of cigarettes, there is little sense of the time or place. But by then we are so absorbed in the performances that we can forgive this, just as we can forgive the sometimes haphazard musical staging, and the set changes that elevate the word ‘clunky’ to a whole new level.

For this is an outstanding show, with a distinctive blend of virtuosity and passion. Heart warming and heart wrenching in equal measure. You have to be either stone-hearted or tone deaf not to shed a tear for its tragic climax. A musical triumph.

 

Reviewed by Jonathan Evans

Photography by Laurent Compagnon

 


La Traviata

Jacksons Lane

 

 

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