Tag Archives: Katzpace

In the Beginning

★★★★

Katzpace

In the Beginning

In the Beginning

Katzpace

Reviewed – 10th February 2020

★★★★

 

“The foam padding around his hips and his flaming red wig are presented as just as authentic as the mud and green of the countryside”

 

‘Performing the words of Alex Marlow, please welcome to the stage… Alex Marlow’. Written on Subterranean Homesick Blues style placards, the opening of In The Beginning aptly opens a show that perfectly embodies the new wave of self aware, contextualised drag performance.

London is currently home to an exciting and innovative culture of burlesque that challenges and pushes the limit of what is traditionally seen as drag. From the rise of Drag Kings in collectives like The Pecs to The London Short Film Festival opening with a night of alternative drag, showcasing cabaret that centres around neurodivergence and race, this is an exciting place to be. With this show, writer and performer Alex Marlow and director Deirdre McLaughlin offer a highly personal and sensitive contribution to this, ultimately pulling at the corners of cabaret itself and seeing where its limits are.

The show jumps around between genres, from mainstays of drag like the lip synch, the clanging double entendre and the intense eye contact with the audience, to more serious formats such as poetry, personal memoir and long moments of introspective silence. What complicates this is that they are not sealed off from each other but intertwined and overlapping. There are intense poetic monologues delivered in full drag and lip synched numbers in jogging bottoms. All the while, Marlow is narrating small vingettes of his life now and his life growing up queer in rural Lancashire, tackling huge topics with personal specificity and grace. This erratic combining does not make for a confusing piece, however, but for one that is touching and funny, requiring the audience to second guess their assumptions about gender, performance and power at every new combination.

The success of this relies heavily on Marlow as the single performer. Luckily, he is an excellent one. His physical performance is by far his strong point as he throws his body round an almost empty stage, flipping from catwalk to skulking to modern dance. He also has incredible comic timing, as is showcased in a short, strangely emotional skit about anal sex and guava which he performs whilst happily snacking on the fruit which he has pulled out of his bra.

Although sparsely populated, the staging and props of this piece create one of its strongest features. Marlow flips between wearing a wig and not, and whilst he isn’t, it sits on an elevated wig stand, watching over the proceedings like a judge. Drag is about layers, traditionally the adding of them. Make-up, padding and prosthetics take the natural and make them unnatural. Marlow complicates this by constantly playing with these layers and shifting around in them. Clothes are taken on and off in quick succession, a full face of makeup disintegrates but shiny earrings remain. There are also long poetry sequences about nature and the pastoral, surely the most ‘real’ thing which most drag avoids dealing with for precisely that reason. Marlow runs into it, however, relishing in the smell of crushed nettles and smearing mud over his impeccably done face.

The smartest move he makes is that none of these layers are prioritised. The foam padding around his hips and his flaming red wig are presented as just as authentic as the mud and green of the countryside. Drag can be gritty reality as much as it can be escape from it. Although perhaps some of the writing could be neater and the transitions between sketches smoother, this is a dazzling piece of cabaret that shows that there is no truth under drag but rather, like turtles, its drag all the way down.

 

Reviewed by Cleo Henry

Photography by Holly Revell

 


In the Beginning

Katzpace until 12th February

 

Previously reviewed at this venue:
Dead Reckoning | ★★½ | May 2019
Everything Today Is The Same | ★★★ | May 2019
Fight. Flight. Freeze. Fuck. | ★★★ | May 2019
You’re Dead Mate | ★★★★ | June 2019
Romeo & Juliet | ★★★★ | July 2019

 

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Romeo & Juliet
★★★★

Katzpace

Romeo and Juliet

Romeo and Juliet

Katzpace

Reviewed – 22nd July 2019

★★★★

 

“this talented young company knows when to change gear and transport us to the essence of Shakespeare’s words and emotions”

 

Brighton, 1964. Whitsun weekend becomes a landmark for an explosion of youth identity during riots between the tribal subcultures of mods and rockers. Setting the mood for Exploding Whale’s new version of ‘Romeo and Juliet’, it encapsulates the pent-up teenage energy and passion which simmer under the surface, ready to boil over in rage or jealousy or love. It may be a timeless tragedy, but this production pinpoints an era of adolescent unrest and disobedience, clearly identifiable in its music and fashion.

As we sit on the beach in deckchairs, the two families appear. Dressed as expected, the use of colour gives them an added stylish unity – rockers in jeans and leathers with a touch of bright red, mods in fashionable black and purple. Detailed lighting and sound (Louis Caro) punctuate scenes and enhance the ambience. The first half lends itself well to its new environment with the initial street fight and the Montagues gate-crashing the Capulet’s party (cue for music) but it takes a while to tune into certain updated roles due to the mixture of accents and unforgiving acoustics, especially in the round. As the narrative is not always clear, we are initially drawn to the more accessible personalities and by the time they are at the Capulet’s, eyes are drawn to dancing partners, Mercutio and the Nurse. However, this is followed by a beautifully powerful balcony scene which seals the play’s integrity and tone. In the second half, with some arresting and intrepid acting, it is the core of Shakespeare’s story which takes over from the 60s landscape until, towards the end, only the music reminds us where we are.

Ben Woodhall’s direction is an original but astute understanding of the script; there are novel takes on the characters, inventive staging and well-shaped dynamic flow. Teddy Morris plays a very real Romeo with a combination of sentiment and honesty which, coupled with Bebe Barry’s shining yet intense innocence as Juliet, gives a fresh and truly moving performance of a classic moment. In supporting roles, Billy Dunmore’s excellent portrayal as Mercutio is immediately charming as the fun best friend but equally bitter as he lies dying; Alex Harvey (Tybalt) brings a raw aggressive presence, Joe Bonfield gives Friar Laurence a contrasting solemnity and in a somewhat fishwife version of the Nurse, Lily Smith creates an interesting and vivid new persona.

With its own youthful energy, Exploding Whale succeeds in presenting an enjoyable and fully-fledged ‘Romeo and Juliet’. Yes, the show does have its foot-tapping moments as promised, but this talented young company knows when to change gear and transport us to the essence of Shakespeare’s words and emotions.

 

Reviewed by Joanna Hetherington

Photography courtesy Exploding Whale

 


Romeo and Juliet

Katzpace until 30th July 2019

 

Previously reviewed at this venue:
Obsession | ★★★ | June 2018
Let’s Get Lost | ★★★ | July 2018
Serve Cold | ★★ | August 2018
Much Ado About Nothing | ★★★★ | October 2018
Motherhood or Madness | ★★★ | November 2018
Specky Ginger C*nt | ★★½ | November 2018
Dead Reckoning | ★★½ | May 2019
Everything Today Is The Same | ★★★ | May 2019
Fight. Flight. Freeze. Fuck. | ★★★ | May 2019
You’re Dead Mate | ★★★★ | June 2019

 

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