★★★★

“a masterfully silly and creative show”

‘Gwyneth Goes Skiing’ by Linus Karp and Joseph Martin is an inviting, fun, and creative dive into the oddities of a 2023 court case between actress Gwyneth Paltrow and optician…I mean, optometrist Terry Sanderson over a ski collision in Utah. Chock-full of g-winning puns and musical numbers, and a strong cast and crew, it is easy to see why Awkward Productions bring in a crowd.

An audience interactive heavy show, this whirlwind of celebrity nonsense and oddity will hurtle you onto uncertain slopes and chaotic courtrooms and have you bracing for impact. From hurling snowballs at actors to participating in a very crucial jury vote, you are brought into this very unpredictable world from the get-go. Part of the key charm of the show is the willingness to include the audience every step of the way, on and off-stage! The production team excel in casting such a keen team of audience members pre-show to aid Martin and Karp in achieving such hilariously uncomfortable moments throughout. Any technical hitches or audience hesitancy are dealt with deftly by Martin and Karp as they portray both of their uniquely peculiar characters. Both nail the stylised physicality and voice of their characters and match each other’s awkwardness nicely.

Karp and Martin light up the stage with their enthusiasm and comedic timing- eloquently telling such a ludicrous story in an engaging and accessible way. Rocking up to this show with little to no Paltrow proficiency is beyond fine, as exposition and characterisation tell you pretty much all you need to know. It is a shame that some of the more “online” humour don’t always pack a punch. Lots of references feel either a patch outdated or a tad too specific for some of the audience to catch on, mean some jokes feel somewhat too on the nose. A few moments stagnate with dramatic tension and drawn-out punchlines, particularly towards the end of the show, however, this is not to detract from the raucous laughter the team garner from the audience at every stage of Paltrow’s turbulent tale of skiing and scam beauty care products.

Ciara Pidgeon’s dead-pan stage management is another excellent facet to ‘Gwyneth Goes Skiing’. As props and set inventively build the silliness and spontaneity of the performance, Pidgeon’s timing, facial expressions, and execution are marvellous. Recurring gags are paid off even more so by the creative set and prop use; a particular highlight is the portrayal of Paltrow’s daughter, Apple. The audio-visual elements of the show equally keep the show chugging along nicely, with guest appearances from the likes of Trixie Matel, and inspiring graphic design by Alice Gorman. Often laughs are picked up from simply hilarious audio-visuals or sound design (by Roly Botha). Leland’s musical numbers are also a brilliant aspect of the night. Whilst the songs at times get a little bit repetitive, they are catchy and brimming of tight comedy.

Awkward Productions ‘Gwyneth Goes Skiing’ is a masterfully silly and creative show that will put you in the right mood before, during and after the show. If you’re looking for a warm, welcome and camp night of theatre, and don’t mind a light-hearted bit of millennial humour, this might be the show for you.

ST MAUD at the Live Theatre

★★★

“has the potential to go bigger, better and smarter to raise the hairs on the back of necks of everyone who dares come along”

Saint Maud at Live theatre is a murky journey of religion, death, and neglect. The story follows Maud (played by Brogan Gilbert) who is a nurse and devote believer, caring for Amanda (Dani Arlington), an atheistic ex-dancer struggling through end-of-life care. As the audience catch snapshots of Maud’s pleas to a higher power for a sign of any kind of recognition and connection, and her mission to “save” Amanda before it is too late, there is a creeping sense that all is not what as it seems.

The show is advertised as an intense watch, so it’s fair to arrive with expectations of how the company might deliver on an unsettling and shocking experience. The overall vision, though clearly thought-through and well-crafted, is unfortunately underwhelming. Admittedly, there are aspects of real majesty woven through this piece (particularly Alison Ashton’s design and Drummond Orr’s lighting); as roses are dug from sand and heaps of hair unravel from drawers, stunningly chilling lighting pulls tableaus together aptly. Starting strong, Matthew Tuckey’s sound design immediately sets a haunting scene. However, lacklustre voice overs, repetitive design motifs, and non-committal audio visuals unfortunately draw the attention away from the suspenseful magic that the heights of Maud’s sound design reach.

Transitions are directed smoothly and acted with desperate tenderness. A real strength that could be pulled out even more is the stylised movement and dance motifs which flutter through the story. Upping the stakes visually and going even further with this would inject further drama into the writing. The use of pyrotechnic effects and gauze are especially effective in drawing through scenes of isolation and damnation through the piece and are best used in the sparing moments which do garner shock or chills from the audience.

The staging is largely dynamic and presents gorgeous stills of vulnerability from actors who are pushed to the brink and demonstrate impressive range. As Maud comes into conflict with Carol, a sex worker and mother begging to provide comfort to Amanda (played by Neshla Caplan), the direction feels more fine-tuned and moving.

A clearer sense of place, time, and meaning might ground this show in something more tangible and detailed. Jack McNamara’s direction lacks clarity, and Jessica Andrews’ ambiguous writing leaves the audience asking for more. Narrative and storytelling cliches clash frustratingly with the eery helplessness and lovely poetic language (explorations of seaside deindustrialisation are, in all fairness, well-thought through and well-done). Unfortunately, the play meanders down too many paths and struggles to build and maintain tension where it is sorely needed. At every other turn, it is difficult not to feel let down by the lack of commitment to the imagining of horror as a genre; where we have hints of unnerving physicality and glimpses of body horror, these ideas are not fully followed through.

Saint Maud misses the mark in pulling off an experience which keeps an audience on their toes. The play sets up so much that could be ignited but does not come to fruition in any meaningfully daring way. As actors vanish into thin air and technical design elements arise in clever ways throughout, it’s evident Saint Maud has the potential to go bigger, better and smarter to raise the hairs on the back of necks of everyone who dares come along.

Tag Archives: Molly Knox

GWYNETH GOES SKIING

★★★★

UK Tour

GWYNETH GOES SKIING at Live Theatre

★★★★

“a masterfully silly and creative show”

GWYNETH GOES SKIING at Live Theatre then UK tour continues

Reviewed on 13th November 2024

by Molly Knox

Photography by Jonny Ruff

Previously reviewed at this venue:

ST MAUD | ★★★ | October 2024

GWYNETH GOES SKIING

GWYNETH GOES SKIING

Click here to see our Recommended Shows page

ST MAUD

★★★

Live Theatre

ST MAUD at the Live Theatre

★★★

“has the potential to go bigger, better and smarter to raise the hairs on the back of necks of everyone who dares come along”