Tag Archives: Joe Spence

Hawk

Hawk
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Hen & Chickens Theatre

Hawk

Hawk

Hen & Chickens Theatre

Reviewed – 6th December 2018

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“a show with some wittily surreal ideas, but one which requires a good deal of tightening and refining”

 

β€˜As If’ – a comic theatre company comprising Exeter Uni alumni – present this Mighty Boosh style narrative sketch show and strong contender for strangest show currently on in London. This is essentially a collection of surreal skits loosely marshalled into a shaggy-dog narrative. The plot (if the term applies) concerns a washed-up, Withnail-esque rock musician called β€˜Hawk’ who speaks to his alter-ego via a mirror in his Ukelele. After years of apparent failure, Hawk composes β€˜the greatest rock song of all time’ but is devastated when the lone copy of its chord sheet is stolen, sending him on a wild goose chase to uncover the culprit. A german electro diva who invites her boyfriend to chew on her strawberry lace hair and a kitchen sink drama about a family of ants give a taste of the wackiness on offer here.

Shows in this relentlessly zany style can be trying. However, a good deal of smart, pop-music based humour (one twist on an NWA lyric prompted applause) and several inspired characters called things like β€˜Barnaby Carnaby’ and β€˜Crystal Beth’ balance out the show’s more self-indulgent impulses. There are also some promising visual ideas: a man fitted out with antennae who picks up radio signals and a creatively staged final revelation scene suggest an imaginative directorial hand. Committed performances sustain the energy even when the writing falls apart. Jake Tacchi, as DCI Sting and Anthony, the furious patriarchal ant, was especially funny. The company has commendable philanthropic objectives: they have worked with Good Chance Theatre and a portion of their ticket sales go the charity, War Child.

However, the show perhaps wears its Fielding & Barratt influence a little too far on its sleeve and some riffs run perilously close to direct Boosh rip-offs. It is very baggy, evidently under-rehearsed and the hit/miss ratio tilts towards the latter as the show goes on. A crowded cast (eight actors) results in numerous characters feeling underdeveloped or superfluous.

In all, it’s a show with some wittily surreal ideas, but one which requires a good deal of tightening and refining.

 

Reviewed by Joe Spence

Photography by Ben Phillip

 

 


Hawk

Hen & Chickens Theatre

 

 

Previously reviewed at this venue:
Abducting Diana | β˜…β˜…β˜…Β½ | March 2018
Isaac Saddlesore & the Witches of Drenn | β˜…β˜…β˜…β˜… | April 2018
I Will Miss you When You’re Gone | β˜…β˜…Β½ | September 2018
Mojo | β˜…β˜… | November 2018

 

 

 

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Bullet Tongue – 4 Stars

Bullet Tongue

Bullet Tongue

The Big House

Reviewed – 16th November 2018

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“the show asks important questions in a refreshingly direct fashion”

 

Islington-based theatre company Big House, which works with young care leavers and those at high risk of social exclusion, launches its new premises with this ambitious promenade piece. 16-year old Bumper (an astonishing Shonagh Woodburn-Hall) is deeply involved in the perilous world of county-lines drug dealing. With her mother dead and her brother imprisoned, gang life provides a rare sense of family and identity. However, an attempt to bolster her credentials by purchasing a gun from a local crime lord, One Ton, leads to devastating consequences.

Employing an investigative journalist character as a kind of audience surrogate, the show asks important questions in a refreshingly direct fashion. The piece probes the inadequacy of social mechanisms designed to lift people out of criminality. Gangs and violence, it suggests, are the inevitable consequences of a society which wilfully ignores and invisibilises its dispossessed and lacks any insight or compassion into poverty.

Among a raft of impressive performances, Gerrome Miller as gang member Little Psych stands out, by turns brash and achingly vulnerable. Zia Bergin-Holly’s punchdrunk-esque set is extraordinary, with different parts of the Englefield Road building fitted out to create, variously, a prison visiting room, a seaside caravan park, a gang hideout. Maggie Norris’ thoughtful direction navigates this complex space with great skill. The show is also extremely canny its use of projection: in one particularly affecting moment, in which Bumper speaks passionately about the nature of inequality, a live camera feed of the audience is projected, as if to underscore our own complicity.

At times, one feels that the audience are being marshalled around a little too frequently, somewhat interrupting the momentum of the show. The longest scenes, which give tension the chance to accumulate and the characterisation a chance to settle in, are generally the best. Several promising narrative threads get a little lost or sidelined as the play proceeded and, one could argue, there are one or two rather superfluous scenes.

These however, are minor quibbles. This is a company doing timely and vital community theatre. Strongly recommended.

Reviewed by Joe Spence

Photography byΒ Dylan Nolte

 


Bullet Tongue

The Big House until 8th December

 

Other Big House productions:
Phoenix Rising | β˜…β˜…β˜…β˜…β˜… | November 2017

 

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