Tag Archives: Josh McClure

BEATS

★★★

King’s Head Theatre

BEATS at the King’s Head Theatre

★★★

“It’s an astonishing performance from Campbell, and Snell’s tracks complement it well”

This intense and intimate reimagining of Kieran Hurley’s 2012 play captures the appeal and vibe of ‘90s rave culture, while missing what makes it interesting now.

The concept of Beats is unusual – it’s a one man performance, by producer/director/performer Ned Campbell but is accompanied throughout by a live on-stage DJ (Tom Snell). The line between play, performance and gig is ripe to be blurred and played with. But the DJ fades increasingly into the background and is used more to build atmosphere.

The plot is simple. In suburban Scotland in 1994 Johnno McCreadie goes to his first rave, while his mother wrings her hands at home and a police officer battles with the wider political effects of his job.

There is a mesmeric quality to the lyrical prose mixed with the thudding, repetitive tracks. At times this bubbles the audience in with the performer, both caught up in the high of the music. Often though the mood is somnambulant, lulled into drowsiness by the rhythm of the piece.

Campbell effortlessly slips between multiple characters, often mid sentence. His startling grotesques are clear and well-realised. The piece is carefully calculated by him and co-Director Eloïse Poulton to make these character shifts stark and dramatic.

Hurley’s script does pose some provocative questions about rave culture and the dire effects of Thatcherism on these small Scottish communities. But all it succeeds in doing is nodding to the politics, hinting at something more interesting beyond the fairly predictable plot that is presented.

Alex Lewer’s lighting design is superb, and probably my favourite thing about this play. Slick character transitions are punctuated by lighting shifts and the rave comes alive with a smattering of colour and motion in the lights.

It’s an astonishing performance from Campbell, and Snell’s tracks complement it well. But the play itself lacks enough intrigue to remain compelling.


BEATS at the King’s Head Theatre

Reviewed on 19th April 2024

by Auriol Reddaway

Photography by Josh McClure

 

 

 

Previously reviewed at this venue:

BREEDING | ★★★★ | March 2024
TURNING THE SCREW | ★★★★ | February 2024
EXHIBITIONISTS | ★★ | January 2024
DIARY OF A GAY DISASTER | ★★★★ | July 2023
THE BLACK CAT | ★★★★★ | March 2023
THE MANNY | ★★★ | January 2023
FAME WHORE | ★★★ | October 2022
THE DROUGHT | ★★★ | September 2022
BRAWN | ★★ | August 2022
LA BOHÈME | ★★★½ | May 2022

BEATS

BEATS

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Spiderfly

★★★★★

Theatre503

Spiderfly

Spiderfly

Theatre503

Reviewed – 11th November 2019

★★★★★

 

“a fantastically unpredictable play – deeply unsettling its audience one moment and then having them roar with cathartic laughter the next”

 

John Webber’s debut play immediately makes a strong, lasting impression, bursting onto the Theatre503 stage with all the boxes for a winning production ticked and making me wonder why we haven’t come across Webber sooner. It packs high drama, nail-biting tension and po-faced hilarity into one 80 minute two-hander, paired beautifully with a production design that strikes the optimum balance between simplicity and ingenuity – Lizzy Leech (set/costume), Dominic Brennan (sound) and Peter Small (lighting) are to be applauded for their masterful touch here.

Spiderfly follows the story of Esther (Lia Burge), who is still traumatised by her sister Rachel’s death and wants answers from Keith (Matt Whitchurch), the man convicted of and who pleaded not guilty to Rachel’s murder. A blossoming romance with Chris (also Whitchurch) is tested as Esther allows herself to be drawn into Keith’s unsettling world; her dogged determination for truth manifesting in subsequent visits where the two form a dangerous bond. More and more we watch in fascinated horror as Keith’s effect on Esther’s own life outside the visits becomes more profound, and we wonder whether she will fall completely under his spell before finding the closure she so desperately seeks.

It’s a fantastically unpredictable play – deeply unsettling its audience one moment and then having them roar with cathartic laughter the next. A structure where the finer details and context of the plot are drip-fed in a way that gives just enough information to know what’s going on but still maintaining an air of mysterious suspense is part of why Spiderfly remains entirely gripping throughout – it really feels as though you are rewarded for sticking with it.

As for Burge and Whitchurch, they pay absolute dividends to the text. The performances are so well observed you’d be forgiven for thinking they’d written it themselves – director Kirsty Patrick Ward has clearly done a fantastic job in eking out the rich morsels of detail for the characters. Esther’s deep-set trauma is painstakingly etched into everything the character does – never once does Burge lose this, even during the lighter scenes with Chris where despite her best efforts, Esther seems as though something is holding her back. It’s a highly sophisticated performance and never one-note, as the relatability of some of Esther’s lines (“I need to look happy. Nicotine-free, obviously”) thankfully maintain her sense of humour.

Whitchurch’s contrast between Keith and Chris is extremely impressive and in the earlier stages of the play I had to look closely just to check whether it really was the same actor playing both. The lovably awkward, put-his-foot-in-it-again Chris is a favourite of the audience and provides effective comic relief, however Keith is the character that stays with you. Whitchurch’s performance is absolutely chilling – Keith is often friendly and almost charming, but a deep undercurrent of violence is forever present. When his nastier side rears its head the character becomes genuinely terrifying, absolutely dripping with quiet menace. The last scene between Keith and Esther is truly a masterclass in acting and even by itself well worth watching Spiderfly for.

I have utmost confidence that this will not be the last we see of Webber – Spiderfly is absolutely spectacular and as a debut play blows all expectations out of the water.

 

Reviewed by Sebastian Porter

Photography by Josh McClure

 


Spiderfly

Theatre503 until 30th November

 

Previously reviewed at this venue:
Caterpillar | ★★★★ | September 2018
The Art of Gaman | ★★★★ | October 2018
Hypocrisy | ★★★½ | November 2018
Cinderella and the Beanstalk | ★★★★ | December 2018
Cuzco | ★★★ | January 2019
Wolfie | ★★★★★ | March 2019
The Amber Trap | ★★★ | April 2019
J’Ouvert | ★★★★ | June 2019
A Partnership | ★★★ | October 2019
Out Of Sorts | ★★★★ | October 2019

 

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