Louis Caro Archives - thespyinthestalls.com

★★★★

“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

You’re Dead Mate

Katzpace

Reviewed – 3rd June 2019

★★★★

“Teddy Morris creates a refreshingly young, relatable, and quintessentially British take on the mortality tale”

“Death is the wish of some, the relief of many, and the end of all”, so Roman philosopher Seneca mused. The inevitability of death is something that unites us all and happens to take centre stage in the wonderfully witty new short play, You’re Dead Mate, which offers plenty of sincerity along with the laughs.

A young man groggily wakes up from his drunken stupor, to find himself in an unknown room with an overly friendly stranger. Is this kidnap? A prank? A dream? The stranger may be able to answer some of these fears as he soon introduces himself as Death. Through reassuring advice and slap-in-the-face cold, hard truths, Death brings some clarity to the chaos of accepting your fate.

Stories from beyond the grave, about being stuck in a limbo, waiting to move on to a final destination are nothing new. However this playwriting debut from Teddy Morris creates a refreshingly young, relatable, and quintessentially British take on the mortality tale. Death is like a cheeky chappy down the pub, there to help you home when you’ve had one too many bevs, which is a really satisfying interpretation. At points the laddish bickering and scrappy behaviour between the two feels a little monotonous, going around and around in circles, but it doesn’t take long before Morris finds his footing again and hits the emotional crux of the story, providing depth and authentic reflection upon making the most of life. He certainly proves himself as an adept writer to look out for in the future.

Both Morris and Harry Duff Walker give brilliant turns as Death and his newest customer. Walker goes on a real journey of disbelief, anger, fear, heartbreak, and acceptance, gliding through these extreme gear changes with ease. It’s a pleasant surprise to see Death go on his own type of journey as his faith in his occupation wavers. Morris being the playwright, clearly feels at one with the material, giving a performance that makes it seem so plausible that Death could act like your best mate.

The encounter between Death and the young man all takes place within a wonderfully dingy basement that echoes more student accommodation than office: second-hand furniture, bottles of booze lined up, wallpaper peeling etc. this certainly makes for no grand exit from Planet Earth. Light and sound Designer Louis Caro does a nice job with the flickering light to signal when it is your time to pass on, even if the story does then fall back on the ‘walking into the white light’ cliche by the end.

A quirky and unexpected delight, there’s a plethora of funny moments to laugh at as well as those more tender points too. You’re left with a compelling feeling to leave the theatre and make the most of your life, as you never know when you might be sitting with Death opposite, offering you a Fosters (as pleasant as that actually sounds). This dead good production is certainly worth a trip six foot under for.

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”

Reviewed by Joanna Hetherington

Photography courtesy Exploding Whale

Romeo and Juliet

Katzpace until 30th July 2019

Previously reviewed at this venue:

Katzpace

Reviewed – 3rd June 2019

★★★★

“Teddy Morris creates a refreshingly young, relatable, and quintessentially British take on the mortality tale”

Reviewed by Phoebe Cole

You’re Dead Mate

Katzpace until 5th June

Previously reviewed at this venue: