Lion and Unicorn Theatre Archives - Page 6 of 14

Euan

Lion and Unicorn Theatre

Reviewed – 29th July 2019

★★★★

“a breathless surrealist caper that is sustained by its own unimpeachable internal logic”

Dressed in matching red boiler suits labelled with their names (Ex, Why and Zed), three chums work themselves up into an existential lather over a lost woodlouse, named Euan. So terrifying is their off-stage boss who entrusted them with this creature, every phone call from her (and there are many) ratchets up the tension exponentially, as they reason that she will likely demand a human sacrifice if Euan is not forthcoming. Like Rosencrantz and Guildenstern, the characters spend their dwindling time questioning their circumstances, arguing about their instructions and interrogating each other’s accounts of previous meetings with the boss, in mounting terror.

The neurotic centre of this absurdist plot is Why played by George Craig who opens the piece already in the highest imaginable state of angst, having mislaid Euan from his matchbox. Somehow, he manages to get ever more worked up over the hour, sucking the steadier Ex (George Bailey) and affably bovine Zed (Hal Darling) into a vortex of comedy mania, generating a mist of nervous sweat in the stifling Lion and Unicorn Theatre.

Although the storyline is the concoction of all three, George Bailey as writer, makes it gel through a cleverly balanced trio of characters. Ex, supplied with a whistle to denote his managerial status, creates a classic double act with Why’s childlike distress. Zed then fits neatly between them with his own brand of dim waffle. The rapidly firing dialogues create a stream of laughs, puncturing every moment of tension with ludicrous changes of tone and subject. Even as their moment of doom draws close they find time to discuss calmly subjects such as how one learns to masturbate or the primary determinants of pizza delivery times.

Since 2006, the Camden Fringe has expanded its mission of supporting performers not ready for Edinburgh to more than twenty venues and hundreds of shows. In theory this could mean exposing the faults of works not ready for public consumption, but as Euan’s well-produced programme explains, this one has been developed over several manifestations and is now nearing its final state, with a Euan 2 even promised. Director Lucy Betts has created a breathless surrealist caper that is sustained by its own unimpeachable internal logic. The need for three phones on stage seems questionable and some of Why’s ‘ideas for novels’ are of impenetrable significance but they hardly break the spell. In a world where losing a woodlouse has such dire consequences, analysis is futile.

Reviewed by Dominic Gettins

Photography by Josh McClure

Euan

Lion and Unicorn Theatre until 31st July as part of Camden Fringe 2019

Last ten shows reviewed at this venue:

How to Make me Happy | ★★★★★ | July 2018

Hummingbird | ★★★ | August 2018

In the Wake of | ★★★ | August 2018

The German Girls | ★★★ | August 2018

BackPAGE | ★★½ | February 2019

Like You Hate Me | ★★★ | April 2019

Mama G’s Story Time Roadshow | ★★★★★ | May 2019

River In The Sky | ★★½ | May 2019

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

★★½

“The play’s premise is a ripe and interesting one and a promising structure for a fringe piece”

Grief, love and storytelling: some of life’s pressure points. Peter Taylor’s play oscillated between all of these, glancing upon moments of sincerity and tenderness. But no one emotion or experience was sustained, leaving me sometimes engaged, but ultimately unresolved.

Lindsey Cross and Howard Horner performed with commitment and passion. Their personal portrayals of parallel experiences of the grief of the loss of a child were heartfelt and genuine. Letting my eyes wander around the Lion and Unicorn’s in-the-round black box, I saw some moved and connected audience members. What the play lacks in clarity and depth, the actors try and make up for with presentness in the space and trust in one another.

The characters’ monologues contain vast emotional journeys and, at points, I found the direction excessive. Having each emotion and thought played by a recreative action was often distracting, especially because the play seemed to be reaching towards both characters achieving a sense of consolidation with their grief. River in the Sky worked well in the round: the privacy of the couple’s situation being viewed from all vantage points, as they struggled to communicate. But their time together in dialogue lacked the physical or emotional knowledge or understanding between two people who are or who have ever been partners, despite the individual actors inhabiting their roles. This was down to a somewhat disparate script; and scenes which built and fell from climax to catharsis rather at random.

The play’s premise is a ripe and interesting one and a promising structure for a fringe piece. The technical elements served the play in its current form and made it cohesive. But each character needed more layers in order for the play to do justice to its vital themes.

Reviewed by Eloïse Poulton

Lion and Unicorn Theatre

Reviewed – 29th July 2019

★★★★

“a breathless surrealist caper that is sustained by its own unimpeachable internal logic”

Reviewed by Dominic Gettins

Photography by Josh McClure

Euan

Lion and Unicorn Theatre until 31st July as part of Camden Fringe 2019

Last ten shows reviewed at this venue:

Lion and Unicorn Theatre

Reviewed – 29th May 2019

★★½

“The play’s premise is a ripe and interesting one and a promising structure for a fringe piece”

Grief, love and storytelling: some of life’s pressure points. Peter Taylor’s play oscillated between all of these, glancing upon moments of sincerity and tenderness. But no one emotion or experience was sustained, leaving me sometimes engaged, but ultimately unresolved.

The play’s premise is a ripe and interesting one and a promising structure for a fringe piece. The technical elements served the play in its current form and made it cohesive. But each character needed more layers in order for the play to do justice to its vital themes.

Reviewed by Eloïse Poulton

River in the Sky

Lion and Unicorn Theatre until 1st June

Last ten shows reviewed at this venue: