Tag Archives: Milly Rolle

Monolog 2
★★★

Chickenshed Theatre

Monolog 2

Monolog 2

Chickenshed Theatre

Reviewed – 19th February 2019

★★★

 

“Thought-provoking and eclectic, there is something for everyone to enjoy”

 


After last year’s success of Monolog, a night dedicated to the singular voice, the Chickenshed have brought the event back, fine-tuning the concept and selecting pieces that create more of an impact. A range of ages, genders, ethnicities and themes are represented, creating a multicultural melting pot of voices that exhibits the theatre’s powerful ethos of inclusivity.

Where the original Monolog performance saw new writing mixed in with established pieces by the likes of Alan Bennett, Monolog 2 focuses entirely on fresh material, written by a cross-section of the theatre’s community. Seven monologues are presented over two halves, each lasting around 20 minutes, giving enough time for the writing to take you on a journey. Shifting between stories of family struggles to political protests, new life, to life put on halt, identity crisis to acceptance of self, each tell a distinctive tale.

The individual pieces manage to be engaging to some extent, bringing a different style and energy to the space. Some are more poetic, whilst others rely on technology and voiceovers to add another dimension. There are certainly some that stand out over others: The originality of Hannah Smith’s Even, Odd…Odd, Even has a dystopian feel akin to the likes of Black Mirror, whilst Milly Rolle’s eccentric depiction of a twenty-somethings shock discovery of being pregnant is highly entertaining and moving. However, it is Alesha Bhakoo’s self-penned and performed piece, Stranger, that seems to be the most captivating. The personal connection to the material about one woman’s internal struggle between her British and Indian identities is apparent, and consequently achieves a harder-hitting and more genuine presentation.

This year, the performance takes place in the theatre’s newest space, The Shed, which is quite literally a glorified shed, fitting around 20-30 audience members. This is certainly an intimate affair, but it works perfectly for the confessional nature of the monologues. A larger space would not be appropriate. The unavoidable clunky transitions between one piece to the next is done as efficiently as possible. As there is a relaxed air to the whole show, the stop/start, choppy changeovers do not detract. It actually gives the audience a moment of pause to reflect.

As Artistic Director, Lou Stein, mentions in his notes about the show, “new work, devising and writing is the life-blood of our theatre’s voice in an ever-changing world”. For a theatre to survive it needs originality and the gumption to create fresh work that challenges our perceptions of the world. Monolog 2 makes a fine attempt at doing this. Thought-provoking and eclectic, there is something for everyone to enjoy.

 

Reviewed by Phoebe Coles

Photography by Daniel Beacock

 


Monolog 2

Chickenshed Theatre until 2nd March

 

Previously reviewed at this venue:
Monolog | ★★★ | February 2018
Don’t Stop Thinking About Tomorrow | ★★★★ | March 2018
One Flew Over The Cuckoo’s Nest | ★★★ | April 2018
Mr Stink | ★★★★★ | July 2018
Jekyll & Hyde | ★★★★ | September 2018
A Christmas Carol | ★★★★★ | November 2018
Christmas Tales | ★★★ | December 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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