“a toe-tapping re-invention of the spirit of the era, interwoven with zippy and witty dialogue”
If, like me the music of the fifties is pretty much a closed book to you, but youβve noticed the energy and appeal of classic numbers like Κ½Blue Suede Shoesβ and Κ½Thatβll be the Dayβ, then can I recommend a rocking show at the Watermill in Newbury which will really knock your socks off?
Dedicated fans of the music of the era should also go and see this compelling show, which is enthusiastically presented by a talented and vibrant young cast in the intimate and atmospheric old mill.
Described as Κ½a story of teenage rebellion and the birth of a new musical eraβ, Teddy had its debut at the Southwark Playhouse in 2015 when it won Best New Musical at the Off West End Awards. It was written by Tristan Bernays with music by Dougal Irvine. In this fizzing revival, cast member Harrison White provides musical direction.
The showβs title refers both to the Teddy boys of the post-war era and to one of two central characters, who is named Teddy (George Parker). He and Molly Chesworth as Josie provide the dramatic focus for the piece, with the plot interweaving music and action provided by Andrew Gallo (drums), Freya Parks (bass guitar), Harrison White (lead guitar and keyboard) and Dylan Wood as the heart-throb vocalist Johnny Valentine.
The Teddy boys were Britainβs own response to American rock Κ½nβ roll of the fifties. Their fashion style was inspired by a revival of Edwardian looks, and it was the Daily Express that first shortened the word Edwardian to Teddy.
But this show is more than just a nostalgia trip to the smoke-filled nightclubs and grim bomb sites of post-war London, with soundtrack to match. The music is a toe-tapping re-invention of the spirit of the era, interwoven with zippy and witty dialogue that has a real rhythmic poetry all of its own.
If Judy, the other name for the Teddy girls, was better known, Κ½Teddyβ could almost be re-named after them, since itβs Molly Chesworthβs character that often takes centre stage. She and bassist Freya Parks have some witty riffs on the theme of women taking no nonsense from men.
An evocative split-level set-design by Max Dorey is complemented by moody lighting from Christopher Nairne. Thereβs a great dance number, and some brilliant music that will send you out humming. A great show not to miss.
“Big Foot is a true passion project, breathing new life into theatre…”
Big Foot, and tiny little heart strings,Β danced its way through elation to grave sadness, whilst maintaining poise, humour and a genuine rapport with the audience. Joseph Barnes Phillips delivers a vibrant, vital and deftly silly performance. Journeying through the fluctuating thoughts and feelings of youth, exploring the importance and difficulty of maintaining your heritage in a relentlessly upgrading world, Big Foot was never heavy-handed, always handling its subject matters with care. Intensified by the fantastic work of the creative team β particular commendation must go to Andy Grange, whose lighting design is second to none β it is clear that Big Foot is a true passion project, breathing new life into theatre and its audiences.
Big Foot is teeming with different dialects, but the mass of tongues never became tangled within Josephβs single body. The audience was invited to have curry on the way into the auditorium, and a later reference to his mumβs jollof, exchanged for a packet of Walkers crisps,Β humorouslyΒ juxtaposed the specificity of origin with globalisation. Thanks to the slick direction of Dominic Garfield, and the authenticity of Joseph Barnes Phillipsβ script, the voices of Josephβs mother, girlfriend and the various fleeting supporting characters blended together in harmony, to create a true storytelling experience. Often beautiful spoken word, street slang, hip-hop, prayer and grime music formed a polyphonic symphony.
Although Big Foot deals with emotionally raw material, its most refreshing virtue was that it did not take itself too seriously. Occasionally, this meant it seemed a little too on the spot. One instance in particular, when Joseph disappeared behind a screen which he manoeuvred, only to reappear and stand on a letter block to dance freestyle, disrupted the flow of the action too much, and came across as a little self-indulgent. But for the most part, the shift from comic to tragic was spine-tingling. From answering a toy phone in his pocket, to taking his mumβs blood pressure, the changes in tone were elegant and mature.
Nik Corrallβs striking set of stuffed toys, scaffolding, a mannequin, strings of lights and a parasol was a treat to behold. Transporting the audience from a hospital, to a park at dark, to a nightclub, Max Pappenheimβs sound design bounced around the space in a constantly dynamic way to highly original effect. Andy Grangeβs lights were the perfect combination of subtle and daring, marking changes of character and supporting the energy of the booming grime. The set, lights and sound amplified the quality of the production up to a creatively formidable piece of theatre.
Joseph established a rapport with the audience from the get-go, so the pieceβs ending, involving direct audience participation, which built to a moving final note, was not at all gratuitous. Beginning and ending dressed as his mother, Big Foot encapsulated the turmoil of young grief in a joyful celebration of life. Vivacious, cool; and verging on brilliant.
Reviewed by EloΓ―se Poulton
Photography by Camilla Greenwell
BIG FOOT
is at Stratford Circus Arts Centre until 7th October
