Tag Archives: Network Theatre

Tobacco Road

Tobacco Road
★★★★

VAULT Festival

Tobacco Road

Tobacco Road

Network Theatre

Reviewed – 13th February 2019

★★★★

 

“the onstage members create five well-delineated characters and enliven a familiar genre with some fluid story-telling”

 

Where better to stage a tale of London’s 1920s criminal underworld than in a venue hidden behind anonymous double-doors down a service road below Waterloo Station (yards from where eight men were killed in a 1927 riot between the McDonald and Sabini gangs)? It’s here, as part of the VAULT Festival, that the suitably-named Incognito Theatre Company tell, with immense vitality, a story of two small-time East End gangs. One, all-male, is a group of pals recently demobbed and desperate for the good life; the other is an all-female team who delight in duping drink-sodden gents as they roam London’s clubland in search of a good time. Tiring of the petty rewards to be gleaned from fixing fights and picking pockets, respectively, the brawn and brains realise that they could be better together and form a powerful alliance. Led by the ambitious Felix Vance (George John) they grow into a syndicate of successful felonious enterprises, enjoying glamour and excess to the point where they feel, mistakenly, ready to take on London’s most dominant and vicious gang.

There is another gang at work here in the team of old school friends who founded this now independent theatre group. As well as exuding rambunctious esprit-de-corps, the onstage members create five well-delineated characters and enliven a familiar genre with some fluid story-telling. Angus Castle-Doughty is perfect, attacking the role of pugilist Tom Carlisle with fierce commitment while still creating empathy. Jennie Eggleton inhabits the hard-as-nails Elsie Murphy with chilling accuracy. All display impressive accents and movement, not to mention the stamina necessary when dialogue is woven into a continuous sequence of beautifully lit moments of physical theatre. The non-stop pace allows few pauses for breath with audibility suffering slightly, but even at full pelt the cast manage to invest unlikable characters with redeeming qualities.

The high point is an illegal boxing scene in which bandages are used ingeniously to evoke the ring from various angles, including the vertigo-inducing perspective of the Tom as he takes his dive. Credit goes to Director, Roberta Zuric, Choreographer, Zak Nemorin and Fight Choreographer, Lisa Connell but also to Sound and Lighting by Oscar Macguire and Freya Jefferies. The script sags when the mob reach the height of their infamy as, with nowhere to go, the characters reflect, row, dance and drink together without further exploration of their lives, relationships, or anything else. But that is a minor reduction in the voltage of this energetic display.

The company’s all-female management have clearly inspired a team ethic, as off-stage and on-stage creatives work throughout to create an hour of relentless entertainment. Their slick yet punchy show proves that gangs work well in the West End too.

 

Reviewed by Dominic Gettins

Photography by Tim Hall

 

Vault Festival 2019

Tobacco Road

Part of VAULT Festival 2019

 

 

 

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Split – 5 Stars

Split

Split

Network Theatre

Reviewed – 4th March 2018

★★★★★

“holds a mirror up to every woman in the audience and leaves them raucously laughing”

 

Dawn French and Jennifer Saunders. Stephen Fry and Hugh Laurie. David Mitchell and Robert Webb. It’s no secret that two is the magic number when it comes to comedy and, after last night’s performance of ‘Split’ at the VAULT Festival, it strikes me that Emma Pritchard and Tamar Broadbent could well be next to join that list.

‘Split’ is a hilariously riotous cringeworthy comedy about two side-splittingly relatable young women. Ellie and Charlotte meet on the first day of Year 7. It must be fate. Well, either fate or the fact that their surnames both start with a J. As so many do, they click almost instantly, and over the course of the next hour we’re allowed the privilege of seeing them navigate their way through their youth. Scene after scene has the audience nudging the best friend who is sat beside them with whispers of “That’s you!” or “Do you remember when…?”. Blissfully ignorant to the realities of adulthood, the two best friends stumble through the traumas of boyfriends, bad decisions and the loss of Charlotte’s pet cat Bach. One of the most memorable things about the piece is its oh-so-classic soundtrack of boy band hits from the beginning of the millennium, along with a dance mat duet which conjured more focus and higher stakes than anything else.

However, ‘Split’ does more than make you reminisce fondly over Busted albums and smelly gel pens. It reminds you of the value and resilience of female friendships. It forces you to remember the people who raised you; the people who sat beside you in assembly and the people who snuck you out of dodgy house parties via the bedroom window. ‘Split’ holds a mirror up to every woman in the audience and leaves them raucously laughing at the nostalgic embarrassments of their early teenage years; but also smiling at how timeless the relationships from that part of your life can be.

 

Reviewed by Sydney Austin

 


Split

Network Theatre

 

 

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