Joanna Hetherington Archives - Page 19 of 26

★★★

“Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival”

In the 1950s, France is attempting to mask the emotional and moral effects of the war and return to an appearance of normality. Jean Anouilh’s prolific output, rarely performed today, ranges from drama to farce. ‘The Orchestra’ leans towards what he categorised as his ‘black’ work (as opposed to ‘pink’, ‘brilliant’ or ‘grating’), contrasting with poignant wit the dramatic change the German Occupation had on the country. Here, Anouilh mirrors this with a small café ensemble whose polished performance juxtaposes the smouldering frustrations, rivalry and revelations which seep out between movements, the sugary lightness of the music enhancing the discord. The orchestra represents the female-dominated, close-knit society of the time. Stuck in a dull provincial spa town they repeat over-familiar tunes to an unappreciative audience. But they are also keen to unwrap each other’s secrets and the collaboration question.

Jeremy Sams’ translation brings to life the radiant facade and cutting jealously, even if the language is sometimes somewhat updated, but the setting of time and place in this play is essential to the characters’ behaviour. A culturally diverse cast with varied accents changes the ambience and, moreover, means that it is quite often hard to get past understanding the actual words and we lose the nuances of the script and personalities. Amanda Osbourne as Madame Hortense controls the group with strong authority (if not the voluptuous shape described by Anouilh) as it writhes with uncomfortable truths. The violin ‘desk partners’ reveal their personal domestic realities and there is amusing chitchat between the flautist and the viola player. Even the cellist admits deliberately playing out of tune to German audiences. Pedro Casarin as Monsieur Leon, the pianist, gives the most dramatic about-face but it is the fighting over him by Madame Hortense and Suzanne, the cellist, which culminates in the darkest moment…as the band plays on.

The breezy melodies (Felix Cross) camouflage the searing tensions but the quality of the soundtrack doesn’t do justice to the energy and expression of recorded live music. Learning to mime playing a stringed instrument is a highly commendable feat and Sarah Waddell (the violinist, Pamela), in particular, makes a convincing impression. Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival of a writer and genre which has long been neglected and captures the forced smile of a period desperate to gloss over the recent past.

Reviewed by Joanna Hetherington

Photography by Jacob Malinski

Taro

Jack Studio Theatre

Reviewed – 24th January 2019

★★★½

“a winning formula – interesting and original writing, pleasing to the eye, some truly moving moments and a beautifully clever and poignant ending”

Arrows and Traps Theatre offers more historical new writing with ‘Taro’, being performed hand in hand with ‘Gentleman Jack’. Their latest dramaturgic slant explores the radical lives of remarkable women whose stories deserve to be celebrated. ‘Taro’ tells of Gerta Pohorylle who breaks out of her Jewish background and defies gender roles when, in 1934, she moves from Leipzig to Paris to escape German anti-semitism and meets Endre Friedmann, a young Hungarian photographer. They form an exhilarating bond. He teaches her photography, she provides contacts through her job at Alliance Photo. They decide to improve their professional opportunities by obscuring their roots and creating the ambiguous name, Robert Capa (borrowed as it sounded similar to film director, Frank Capra and also Friedmann’s Budapest street nickname was “Cápa” which means “Shark” in Hungarian) under which they both work. Gerta changes her name to Gerda Taro, a combination of the icon Greta Garbo and the Japanese artist Tarō Okamoto, and eventually they travel to Spain to capture the atrocities of the civil war. There she is killed at the age of 26, becoming a pioneer of photojournalism as well as martyr for the socialist cause.

Writer and director, Ross McGregor, reflects their intertwining identities and the influence of cinema in their names as a film being made through the eyes of Taro. Accompanied by her favourite film star, she watches herself, commenting on and explaining her own story. The cast move dexterously round the stage forming and reforming as family, friends and colleagues, changing scenery and costumes but it is this meandering action which blurs rather than clarifies the mesh of people and events. On the few occasions where emotions rise, the tension is cut short by Garbo’s quips and we are unable to fully engage with the characters. Lucy Ioannou gives a sensitive performance as Gerda complementing Cornelia Baumann’s strong, spirited Gerta, in particular, the heartfelt outburst at her disillusion with Endre’s unreliable nature. Tom Hartill plays the volatile Friedmann, charming the audience with his openness and we enjoy a refreshingly grounded portrayal of Gerta’s friend Ruth, by Laurel Marks.

The lighting (Ben Jacobs) nurtures the space and atmosphere and there are other striking stylistic similarities with the company’s earlier production of ‘The White Rose’. With the incorporation of expressive movement, tableaux, background mime and the red coat standing out against the grey costumes… possibly a recurring motif… McGregor is establishing an artistic hallmark. For those less familiar with Capa’s work, to see some of his images (presumably protected by copyright) would have been impacting but there seemed to be an attempt to restructure one of the civil war photos. Maybe more, but if one is unlucky enough to have a side-facing seat, the view of the staging is notably restricted. The members of Arrows and Traps have generated a winning formula – interesting and original writing, pleasing to the eye, some truly moving moments and a beautifully clever and poignant ending.

Omnibus Theatre

Reviewed – 31st January 2019

★★★

“Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival”

Reviewed by Joanna Hetherington

Photography by Jacob Malinski

The Orchestra

Omnibus Theatre until 17th February

Last ten shows reviewed at this venue:

Jack Studio Theatre

Reviewed – 24th January 2019

★★★½

“a winning formula – interesting and original writing, pleasing to the eye, some truly moving moments and a beautifully clever and poignant ending”

Reviewed by Joanna Hetherington

Photography by Davor Tovarlaza

Taro

Jack Studio Theatre until 16th February

Last ten shows reviewed at this venue: