Tag Archives: Michael Geary

Doctor Who Time Fracture

Doctor Who – Time Fracture

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Unit HQ

Doctor Who Time Fracture

Doctor Who – Time Fracture

Unit HQ

Reviewed – 16th June 2021

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“If this site, lacks the in-your-face flash of Disneyworld, it more than makes up for it in the energy and commitment of its large and diverse cast”

 

Dedicated Whovians are in for a treat. The BBC has found a site, allegedly hidden around 1942 but only recently rediscovered, that offers an exciting adventure travelling through time and space with at least some of your favourite characters from the iconic television show. I say β€œat least some” because this elaborately staged production not only leads the audience through a series of well designed sets, but divides them into small groups, and smaller sets, for exclusive mini adventures. The audience is reunited twice β€” for a much appreciated break during the middle of the show (complete with your drink of choice and live music) β€” and at the end of the show for the apocalyptic breakdown and grand finale. If this site, cleverly concealed in a quiet mews just down the road from Bond Street tube, lacks the in-your-face flash of Disneyworld, it more than makes up for it in the energy and commitment of its large and diverse cast. Both β€œalien” and β€œhuman.”

I’d like to tell you more, but the Doctor threatened me (very nicely, of course) with a total mindwipe if I said anything about the plot. β€œThe first rule of Time Fracture is….” β€” so I hope, prospective intrepid time traveller, that you’ll forgive me.

I can say that for me (and my companion) this was a great way to spend an evening in London. Social distancing seems less noticeable when the audience is constantly on the move and involved in the action. There was plenty of recognizable timey-wimey stuff going on for Doctor Who fans, and if it was a bit shouty-wouty β€” well, there was a lot going on all over the place, and with different groups of people. The actors managed this remarkably well, considering that they were costumed from head to foot (often unrecognizably so) in small spaces on the hottest and most humid evening in London this year. They also had to be very deft with the improvised conversations, and to deal with audience members who tried to change the plot on them, or claimed to be at least one thousand years old. In some ways Doctor Who: Time Fracture will feel a bit like the haunted house exhibits for Hallow’een. In this show, however, the sets and costumes are way more cool, and yes, scarier in at least one instance. No, I’m not going to tell you. Spoilers!

Doctor Who: Time Fracture would be a good choice of event for a blind date or even a first date. You won’t be able to talk to each other with all the noise and excitement going on, but by the end of the evening, you will know if your prospective is Time Lord material β€” or just a mere mortal destined to be jettisoned straight back into the universe’s dating pool.

 

 

Reviewed by Dominica Plummer

Photography by Mark Senior

 


Doctor Who – Time Fracture

Unit HQ until April 2022

 

Reviewed this year by Dominica:
Public Domain | β˜…β˜…β˜…β˜… | Online | January 2021
The Sorcerer’s Apprentice | β˜…β˜…β˜… | Online | February 2021
Adventurous | β˜…β˜…Β½ | Online | March 2021
Tarantula | β˜…β˜…β˜…β˜… | Online | April 2021
Stags | β˜…β˜…β˜…β˜… | Network Theatre | May 2021
Overflow | β˜…β˜…β˜…β˜…β˜… | Sadler’s Wells Theatre | May 2021
L’Egisto | β˜…β˜…β˜… | Cockpit Theatre | June 2021

 

Click here to see our most recent reviews

 

Orpheus Descending
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Menier Chocolate Factory

Orpheus Descending

Orpheus Descending

Menier Chocolate Factory

Reviewed – 16th May 2019

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“Every moment between them is overflowing with nuance and tension, with a beautiful unpredictability as to how their relationship will develop”

 

The stage directions in the plays of the likes of Tennessee Williams and Arthur Miller are notorious for their length and level of detail – to actors, directors, and designers they can often feel like micromanagement of every aspect from the writer. Tamara Harvey’s production of Orpheus Descending defies the demands of the stage directions by instead having Valentine Hanson’s Uncle Pleasant speak some of them aloud. Amongst an unfocused opening, this comes off as a somewhat baffling choice, but key moments transfigure the function of the directions by weaponising them to make a stern point about the cyclical nature of hatred and fear within small-town communities, creating a rich and layered tapestry that delves directly into the human heart.

The titular Orpheus of Orpheus Descending is Valentine Xavier (Seth Numrich), a guitar-wielding, snakeskin-wearing drifter who has ended up in a small Southern town and is looking for work. Conveniently, Lady Torrance (Hattie Morahan) needs an extra hand at her general store since her husband Jabe (Mark Meadows) has fallen ill and although she’s reticent to employ an outsider, her decision to do so takes both her and Valentine on a passionate and ideological odyssey – albeit one threatened by the animosity from the rest of the town towards Valentine. The play grapples with a lot of hefty themes and ideas, chief among which seemed to be an exploration of outcasts and belonging – the clash of the townspeople who immediately dislike any intrusion into their tight-knit community with the free-spirited and open-minded nature of Valentine exposes the prejudices embedded into society and how can they affect even those who thought they were safe. In many ways, it operates as a microcosm for wider society and – sadly – still bears a lot of relevance today.

There are universally excellent performances on display here – even minor roles like Ian Porter’s Sheriff Talbott and Carrie Quinlan’s Nurse Porter carry a depth and gravitas that enrich the texture of their actions and dialogue. Jemima Rooper also does an incredible job as Carol Cutrere, another outcast whose circumstance and attitude serves as a smart counterpoint to Valentine. However, the abundance of praise must go to Numrich and Morahan as the central pair – the dynamic between the two is like a injection of rocket fuel directly into the bloodstream. Every moment between them is overflowing with nuance and tension, with a beautiful unpredictability as to how their relationship will develop; it’s never anything less than a total joy to watch the two interact.

Harvey’s direction and Jonathan Fensom’s minimalist design keeps the focus firmly on the performances, which is probably for the best given that there are so many – there are thirteen actors in the play, which results in an opening that’s quite chaotic and messy. It makes you wish the creative team had been as bold with presenting the most focused version of the play as they had with the stage directions, because once it does hone in on Valentine and Lady, Orpheus Descending is hauntingly seismic.

 

Reviewed by Tom Francis

Photography by Johan Persson

 


Orpheus Descending

Menier Chocolate Factory until 6th July

 

Previously reviewed at this venue:
The Gronholm Method | β˜…β˜…β˜…β˜… | May 2018
Fiddler on the Roof | β˜…β˜…β˜…β˜…β˜… | December 2018
The Bay At Nice | β˜…β˜…Β½ | March 2019

 

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