Tag Archives: Miriam Sallon

Take Care

Take Care

★★★★

VAULT Festival 2020

Take Care

Take Care

Network Theatre

Reviewed – 11th March 2020

★★★★

 

“it’s going to make you feel something, which is exactly what theatre should do”

 

Every time I see a verbatim show, I wonder why everyone isn’t doing it all the time. Beside the fact that it gives you ready-made dialogue, for some reason taking something seemingly ordinary that someone has said casually in conversation, with every mispronunciation, repetition and hesitation, and reframing it on stage immediately elevates it to excellence. This is exactly the point for Take Care, as directed by Zoe Templeman-Young, whose aim is to give a voice to those who can’t speak for themselves.

Everyone in the cast has either been a carer or a professional within the care work industry, and they have all seen first-hand the difficulty of giving someone the care they need, made all the more trying by over a decade of budget cuts and broken promises from the government.

We hear first-hand accounts from across the board: people in care, people taking care of family members, people taking care of strangers, nurses, safety training specialists, carer support charity workers, and so on, and whilst these accounts are interspersed with overhead snippets from lying politicians, for the most part the message is delivered with as much subtlety as possible, allowing people’s experiences to speak for themselves.

It’s not all doom and gloom though. We also hear about people’s love of caring, either for someone they know or someone they don’t, and we hear about the joy of it too. On being asked why she would want to take care of her elderly mother, one woman answers, “Old people can be fucking hilarious.”

With very little by way of production or design, besides a bunch of chairs and a few bits and pieces scattered about the stage (a cup of coffee, a lampshade, a Christmas tree), the script and performances speak for themselves. A cast of only four portrays a number of characters each, and with only the use of cravat or a jacket, they are completely transformed, embodying an entirely different person.

There is an idea that a strong argument must be made without emotion; must be entirely objective. Take Care takes quite the opposite tact, showing that personal experience is the argument. You can look at statistics and financial benefits, but at the end of the day, a government’s legislation affects real people, and they deserve to be heard.
Regardless of your political standing, this show will make you angry, either because old people and people in need have been seemingly cast aside by the government, or because you don’t think that’s the case and despite having watched a bunch of first-hand accounts, you have something different to say about it. Regardless, it’s going to make you feel something, which is exactly what theatre should do.

 

 

Reviewed by Miriam Sallon

 

VAULT Festival 2020

 

 

Click here to see all our reviews from VAULT Festival 2020

 

Thank You and Goodnight

★★★★

Camden People’s Theatre

Thank You and Goodnight

Thank You and Goodnight

Camden People’s Theatre

Reviewed – 8th March 2020

★★★★

 

“a great performance from a brilliant performer”

 

“Thank you for having me. I mean, not having me…At least not yet.” As Emilia Stawicki begins her show, making her way round the audience and hitting on anyone who maintains eye contact, she manages to be both wildly uncomfortable and unfathomably confident.

Armed with only an education in jazz hands and Sondheim, and some serious Catholic guilt, Emilia takes us on a (very relatable) journey to discover what she wants romantically and sexually, and, of course, to answer that ever popular, make-you-want-to-punch-people-in-the-face question, “So why are you single?”

As with a lot of funny people, Emilia’s love life has been less with the wild sexy romances and more of a succession of gentle humiliations- dates ending in a firm handshake, or indeed a realisation that the other person is verifiably insane. It’s clear this is pretty much autobiographical, small measures of artistic licence aside, and being so vulnerable with an audience of strangers, there is, no doubt, a great capacity for humiliation. It’s lucky then that Emilia has such a talent for comic timing and story-telling, instead making the whole audience feel like her best buds on a night out with their funny friend.

With little by way of props or production, barring a flip chart with some key words spelled out nice and big, and a tiny crucifix hung on the back wall, Emilia carries the entire show with masterful physicality and delivery. In fact, her facial expressions are so descriptive, she could easily do the whole thing sat still in the middle of the stage, moving only her eyebrows.

As with all good comedy, there is a strand of sincerity which comes a little too suddenly, giving the audience no time to shake themselves out of the easy laughter generated over the past forty-five minutes. Regardless, we’re only really meditating on the serious for a moment or two before Stawicki swings back in to comedy at full force.

At only an hour, there isn’t really time for the mind to wonder, nonetheless the narrative could do with a little excess trimmed off. Even so, this is a great performance from a brilliant performer. I look forward to telling people I saw her when she was just starting out.

 

Reviewed by Miriam Sallon

 

Thank You and Goodnight

Camden People’s Theatre

 

Last ten shows reviewed at this venue:
Hot Flushes – The Musical | ★★★ | June 2019
Form | ★★★★★ | August 2019
Muse | ★★ | August 2019
Ophelia Rewound | ★★★★ | August 2019
The Indecent Musings Of Miss Doncaster 2007 | ★★★½ | August 2019
A Haunted Existence | ★★★★ | October 2019
Trigger Warning | ★★★ | October 2019
I, Incel | ★★★ | November 2019
Sh!t Actually | ★★★★ | December 2019
Made From Love | ★★★½ | January 2020

 

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