Tag Archives: Jon Brittain

Rotterdam

Rotterdam
★★★★

Brighton Theatre Royal & UK Tour

Rotterdam

Rotterdam

Brighton Theatre Royal

Reviewed – 8th April 2019

★★★★

 

“Jon Brittain’s script is a weaving explosion”

 

Alice and Fiona have been living in Rotterdam for seven years. They were only supposed to be there for one. It’s nearly New Year’s Eve and Alice is composing an email, and redrafting it, and spell checking it, and redrafting it again. She is trying to come out to her parents as a lesbian. But just as she is about to press send, her partner Fi delivers some unexpected news. Fi is a man, has always been a man, just wants to “stop trying to be a woman”. He asks to be called Adrian, the name his parents would’ve given him if they’d known he was a boy when he was born. The two characters spiral on different journeys, Adrian coming to terms with his gender identity, with the violence of being misgendered and the possibilities of hormones and surgery. Meanwhile, Alice questions her sexuality all over again, as she begins the process of accepting Adrian, and herself.

Jon Brittain’s script is a weaving explosion, each scene launching into the next (also thanks to Donnacadh O’Briain’s energised direction). The relationships between our four characters are gradually revealed, connecting them in different and surprising ways.

The set, designed by Ellan Parry, shows a black and white Amsterdam, splattered with pink, vivid purple, neon light, even covered with blue balloons at one point in the play. It isn’t anything hugely exciting but it doesn’t need to be. It allows for the different places the play takes us to, to be created, and for the story to be told. The mirrored door, throwing light across the audience every time it is opened is particularly lovely. Cleverly, even the details of the set, with backlit gendered toilet signs above a bar, are a constant reminder of the weight of gender, and the way we perceive it, in society. The fireworks thrown out into the audience – or seemingly so – are a really effective moment of lighting design from Richard Williamson.

The play is punctuated by some incredibly powerful and emotional images, but it is also laced with humour, and the actors find the balance between these moments really well. In fact the cast is strong all round. Lucy Jane Parkinson has a brilliant presence onstage, humourous at first, strong to the point of near aggression, deeply vulnerable when Adrian phones his mum to come out to her for the first time. A vivid performance of need and strength. Bethan Cullinane’s Alice is wonderfully played. Still closeted and unable to let go, she meets the vibrant Lelani (Ellie Morris) who takes her to parties and smokes weed with her. There is so much humour and life in this journey, and it is delicately undercut by Alice’s own struggles with her sexuality, and her frequently cruel way of processing Adrian’s transition. Elijah W Harris takes a couple of scenes to become grounded in the role of Josh, but when he does he is immediately likeable, and the relationship between Josh and Adrian in particular, feels warm and genuine.

This is a play through which you will laugh and cry. It discusses gender, sexuality, family, love and Rotterdam, and is delivered by strong, honest performances from a talented cast.

 

Reviewed by Amelia Brown

Photography courtesy I AM Marketing

 


Rotterdam

Brighton Theatre Royal until 10th April then UK Tour continues

 

Previously reviewed at this venue:
This is Elvis | ★★★ | July 2018
Salad Days | ★★★ | September 2018
Rocky Horror Show | ★★★★ | December 2018
Benidorm Live! | ★★★★ | February 2019
Noughts And Crosses | ★★ | March 2019

 

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

 

Super Happy Story (About Feeling Super Sad)

Super Happy Story (About Feeling Super Sad)
★★★★

VAULT Festival

Super Happy Story (About Feeling Super Sad)

Super Happy Story (About Feeling Super Sad)

The Vaults

Reviewed – 31st January 2019

★★★★

 

“the delivery and the performances of these dynamic character actors certainly make you stand up and listen”

 

“If you were affected by any of the issues raised in this programme…” is such a common tagline on our television screens nowadays, that most people have become inured to it. A quick surf online shows that where there is still a reaction to the announcements, they are usually ones of annoyance at their ‘Nanny-State’ superficiality. Understandable perhaps, but unfair and unreasonable. In reality, these helplines do have a significant impact in encouraging people to seek help for a wide range of problems.

“Silent Uproar” adopt the same sense of responsibility by exit flyering their show “A Super Happy Story (About Feeling Super Sad)” with details of where to get support for those struggling with mental health. The award-winning company makes theatre to “make the world a little less shit”. Maybe not the most highbrow tagline, but it is true to their playfully honest approach. And it also helps sweep away the preconception that a musical about depression is going to make for a pretty cheerless evening. “A Super Happy Story…” is anything but cheerless. Written by Jon Brittain with music by Matthew Floyd Jones, it is an uplifting and insightful cabaret about a young woman’s fight with depression.

Sally (played by Madeleine MacMahon) is “fine”, as she repeatedly tells everybody (Sophie Clay and Ed Yelland – impressively playing a diverse roll call of all the other characters). MacMahon brilliantly encapsulates the manic over insistence on having a good time with which Sally embarks on her journey. It begins with denial, then runs the gauntlet of anger, bargaining and acceptance after which she gets better. We think the show is reaching a natural happy ending. But then we are harshly reminded that every silver lining has its own black cloud.

It’s not a ground-breaking message, but the delivery and the performances of these dynamic character actors certainly make you stand up and listen. Clay and Yelland, as Sally’s best friend, boss, mother, boyfriend and much more, are hilarious. Yet they also manage to convey the minefield one needs to navigate when treading the path towards recovery. They understand completely the notion that if you can amuse an audience, you will find that they are far more receptive to what you have to say. The show packs a powerful punch while making you laugh out loud.

The songs slot into the action like interludes between the chapters of Sally’s life, with tight harmonies accompanied by a lone pianist to the side of the stage (it is unclear, though, whether this is Floyd Jones himself or Tom Penn, the credited touring MD). Again, the juxtaposition of upbeat melodies with weighty words shrouds the educational aspects of the show in entertainment.

Depression often feeds on being ignored, which is part of the crux of Sally’s story. This is a show that cannot, and must not be ignored. It is heartfelt and rings absolutely true. Depression might never really go away but, as Sally ultimately declares; “I’m not bad. And not bad feels pretty damn good.”

Nobody can accuse this show of merely being ‘not bad’. I’d say it’s ‘pretty damn good’.

 

Reviewed by Jonathan Evans

Photography courtesy Silent Uproar

 

Vault Festival 2019

Super Happy Story (About Feeling Super Sad)

Part of VAULT Festival 2019

 

 

 

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