Tag Archives: Katy Owen

The Swell Mob

The Swell Mob
★★★

COLAB Factory

The Swell Mob

The Swell Mob

COLAB Factory

Reviewed – 9th May 2019

★★★

 

“Although there is clear potential to this show, it needs some improvement before it really hits the mark”

 

As we stepped into COLAB Factory we were plunged into the mid 19th century, and cast and crew of The Swell Mob urged us to the bar. The ensemble cast’s conviction to their varied and fascinating parts is one of the main strengths of this production. Detailed and rich characters occupy nooks and crannies and wander around, interacting with the audience and telling their stories of how they came to be in the power of the mysterious Master who rules this peculiar place. Large portions of the show are improvised conversations with these characters, although there are moments of more cohesive scripting including an impressively choreographed boxing match.

Flabbergast Theatre’s aesthetic style of the show is in-depth and really does put the ‘immersive’ into ‘immersive theatre’. From the detailed costumes to the even more detailed set, with rooms full of papers and objects to be explored, each audience member gets a different experience depending on where they go and what they do. Who you talk to also makes a big difference, and the cast’s quick thinking and responses to the most unexpected input is to be commended.

Unfortunately the plot of The Swell Mob falls flat, due to its failure to take care of its audience. A tricky element of any immersive theatre in which audience members can wander free is in laying out the rules of the performance in such a way that we can still understand a story from what we have discovered. In this performance the rules were unclear; we were given a bag of coins on entry, but with no sense of how spending them might limit our options later in the show. Even just a more thorough introduction would have been an easy fix, but without it we were left unsure how exactly to proceed.

Crowding is also an issue. In some ways it felt there were not enough actors for audience and several times I came across others at a loss for what to do. Whilst it may be fun to join forces and engage with completely new people, seeking out the entertainment of The Swell Mob is hard, and not always rewarding, work. Although there is clear potential to this show, it needs some improvement before it really hits the mark.

Reviewed by Katy Owen

Photography by Jordan Chandler

 


The Swell Mob

COLAB Factory until 25th August

 

Previously reviewed at this venue:
Hidden Figures: WW2 | ★★★★★ | March 2018
For King & Country | ★★★★ | April 2018
Illicit Secrets: Bletchley | ★★★★ | August 2018

 

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

 

Mojave

Mojave
★★★

Camden People’s Theatre

Mojave

Mojave

Camden People’s Theatre

Reviewed – 12th April 2019

★★★

 

“a charming snapshot of a unique point in history wherein the concept of ‘connection’ was redefined”

 

A verbatim play based on the true story of a lone phone booth situated in the middle of the Mojave Desert in 1990s North America, Citizen Band Radio’s play Mojave follows Godfrey ‘Doc’ Daniels on his journey to discover this strange landmark. The play opens on the phone box in question covered in a white sheet, against which a stylised desert is projected. These projections, combined with the live DJ-ed music, do well at plunging us into the action from the very start of the piece and continue to do so throughout. The setting of the nineties is important and rightly emphasised through radio interviews, music excerpts and a particularly commendable audio-visual presentation to show the evolution of a website at a time when the internet started to come into its own.

A disadvantage that can arise with verbatim theatre is in the structuring of the play – life doesn’t tend to conform to a standard three-act format after all – and there are certainly moments where Mojave feels a little too still, plotwise. The story starts strong with a focus on Doc. A fantastically choreographed movement piece reveals the monotony of his daily life and the way in which his obsession with the phone booth leaks into it. As it continues, however, the choreography starts to feel more like padding put in to lengthen the running time. The second half of the play consists largely of a montage of different calls to and from the booth and, though at first interesting, sloppy transitions combined with a stagnant plot line steadily work to undo the immersion that the first half of the play has done so well to create.

In spite of this, the ensemble works well at multi-roling a whole host of different characters. They switch smoothly, even when shifting between accents (Scottish, French, German, American) at speed. The dialogue, lifted from transcripts of Doc’s recordings and phone calls made to and from the booth, lend an interesting and unusual form of realism to the play; not realism in the harsh or brutalistic sense, but something softer and more comfortable to observe. The cast reliably hit their comedic beats and the moments of awkward interaction between strangers on a phone line are especially well executed. It is with this relaxed and humourous tone that the play manages to offer a charming snapshot of a unique point in history wherein the concept of ‘connection’ was redefined.

 

Reviewed by Katy Owen

Photography courtesy Citizens Band Radio

 

Camden People's Theatre

Mojave

Camden People’s Theatre

 

Previously reviewed at this venue:
I Want You To Admire Me/But You Shouldn’t | ★★★★ | March 2018
The Absolute Truth About Absolutely Everything | ★★★ | May 2018
A Fortunate Man | ★★★½ | June 2018
Le Misanthrope | ★★½ | June 2018
Ouroboros | ★★★★ | July 2018
Did it Hurt? | ★★★ | August 2018
Asylum | ★★★ | November 2018
George | ★★★★ | March 2019

 

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