Tag Archives: Lou Stein

Don’t Stop Thinking About Tomorrow – 4 Stars

Tomorrow

Don’t Stop Thinking About Tomorrow

Chickenshed Theatre

Reviewed – 12th March 2018

★★★★

“there is a real sense of inclusiveness and each and every young person on the stage is fully invested in what they are performing”

 

Chickenshed presents their latest production, Don’t Stop Thinking About Tomorrow, a powerful piece of theatre combining music and movement to address the issue of man-made climate change. Fictional character Oscar Buhari, played by Ashley Driver, describes himself as an artist who “dedicates his life to witnessing human stories behind climate change” and throughout the production he narrates a series of short pieces depicting these stories. The result is ninety minutes of thought-provoking theatre, well executed by a diverse group of young performers.

Having seen a number of Chickenshed’s productions in the past, I’m used to their large cast sizes, but there is always the worry that this may cause the performance space to appear cluttered and overcrowded. In this particular production the cast is split across the series of short pieces, but even in the pieces made up of larger groups of performers, the stage is far from cluttered. The space is used very well in these instances, particularly during “Plastic Paradise”, a visually intriguing piece depicting the devastating effect plastic is having on our oceans.

Generally speaking, the choreography is very impressive. Each performer contributes to the piece they are involved in and there is some great ensemble work, particularly during “Pensive Hope”, an abstract montage representing the melting of polar ice caps. Another piece where the movement is particularly well executed portrays the destruction created in New Orleans by Hurricane Katrina in 2005. The contemporary style choreography, combined with powerful music and projections of footage of the effects of the hurricane, makes for a hard-hitting piece and one that is definitely a personal highlight of the whole production.

A special mention must go to Dave Carey who has created some powerful original compositions that complement the stories very well. Over the course of the production, Chickenshed’s Vocal Voices perform a series of arranged pieces, such as “Hurt” by Johnny Cash, Joni Mitchell’s “Big Yellow Taxi” and, of course, the title song “Don’t Stop Thinking About Tomorrow” by Christine McVie of Fleetwood Mac fame. These pieces incorporate what is described as “the usual Chickenshed twist” and are delivered by some talented vocalists.

There is no doubt that Lou Stein has conceived and directed something special, with the help of what is clearly a group of passionate, driven young people. This is a thought-provoking, moving and surprisingly uplifting production, covering a very important issue. However, what stands out the most, as with every other Chickenshed production I have seen, is that there is a real sense of inclusiveness and each and every young person on the stage is fully invested in what they are performing, regardless of their abilities, backgrounds and personal challenges. That alone is inspiring.

Reviewed by Emily K Neal

Photography by Daniel Beacock

 


Don’t Stop Thinking About Tomorrow

Chickenshed Theatre until 31st March

 

Related
Monolog | ★★★ | Chickenshed Theatre | February 2018

 

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Monolog – 3 Stars

Monolog

Monolog

Chickenshed Theatre

Reviewed – 8th February 2018

★★★

“McGuirk gives a delightful performance, drawing the audience in with her bold and bubbly characterisation”

 

Single narrative performances are a theatrical style whose popularity has fluctuated over the years, even though it has maintained an underground following. However, recently, there does seem to be a resurgence of theatres within the capital that are allocating more space within their programme to showcase this art form. Whether it is in the shape of a poetry slam, a spoken word night, or a solo performance event, the singular voice is taking centre stage once more. North London’s Chickenshed Theatre is one such place that has jumped on the bandwagon. Their new production, Monolog, is a celebration of the lone voice, and the vast, diverse approaches in which it can be heard.

In an intimate and relaxed setting, four, non-linking monologues that include new writing as well as the work of established writers are given exposure, delivered with vitality and enthusiasm. Opening with Her Big Chance by Alan Bennett, Belinda McGuirk presents the piece from what is probably the most recognisable collection of dramatic monologues, Talking Heads. Julie Walters had originally played the part of starry-eyed actress, Lesley, for the small screen, but here, McGuirk gives a delightful performance, drawing the audience in with her bold and bubbly characterisation. The monologue does seem dated now, with its references and the character’s moral naivety, though still topical in light of the recent uncoverings of sexual abuse and harassment cases within the film industry.

A newly commissioned autobiographical piece, This Is Me, by Diane Samuels (best known for her play Kindertransport) is the second offering. The performance is a snapshot of memories of her life with alternating performances by either Belinda McGuirk as the older Diane, or Lucy Mae Beacock as the younger, depending on which performance you see. I saw the younger self, sweetly portrayed by Beacock using an unconventional method of audience participation to reveal the next vignette of her early life, gradually building the bigger picture of who she is. Beacock gives a confident and assured performance as the young Diane, but the content is rather underwhelming.

The most thrilling contributions to the show are the two monologues from the ‘New Writing’ selection, which have a fresh and vibrant voice. A total of six have been written by various affiliates of the Chickenshed community, rotating between which are presented. Last Piece of the Sun, collaboratively devised by Alesha Bhakoo, Dave Carey and Milly Rolle, follows the heart-breaking consequences of a one-night stand, which Bhakoo performs with real believability. Whilst, the kooky, I Find Love In A Bin (In Waterloo Station) by Peter Dowse, is wonderfully brought to life by Sarah Connelly, who imaginatively uses the abstract imagery to her advantage.

This showcase of work is a pleasant reminder of how important the monologue is to the arts, and the power in which in can behold in telling a narrative. Moving through varying emotions and periods of time Monolog demonstrates how far the form has come along, whilst contemplating how much wider its parameters could be pushed in the future.

 

Reviewed by Phoebe Cole

Photography by Daniel Beacock

 


Monolog

Chickenshed Theatre until 3rd March

 

 

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