Tag Archives: Ovalhouse

Undersong – 5 Stars

Undersong

Undersong

OvalhouseΒ  – St Mark’s Church

Reviewed – 5th June 2018

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“The combined noise created by these nine individuals is spine chilling and hypnotic”

 

Stepping into the enclaves of St. Mark’s Church, Kennington, things are a little irregular. Gone are the rows and rows of seats or pews that you would expect to see. In their place, is a circular cluster of stools scattered randomly, with freestanding naked light bulbs dotted here and there, in between. Certainly not like any religious service I have ever been to. But then again, this is not a congregation to worship God. This is a congregation of worship to performance. Bristol based Verity Standen brings her magnificent new a cappella composition, Undersong, to life, with the help of eight other singers, demonstrating with skilful, innovative, technique, the power of (surround) sound. The combined noise created by these nine individuals is spine chilling and hypnotic – a vocal symphony that leaves you wanting more.

To Standen’s own admittance, this piece is hard to define. It is between being part concert, part performance art, and part theatrical experience. As much as it is about the harmonic voices of the singers, who weave through the audience, generating an intense literal wall of sound, it is also about the movement. Their bodies are as much a part of the composition as their voices. Whether it is the positioning of their bodies, which determines how a certain sound is heard, or a physical gag (a line up of undulating tongues is a particular highlight) there is just as much to take in visually as there is aurally. A great deal is to be gained either from closing your eyes and zoning into the sound, or being entranced by the choreographed spectacle of the piece.

The ambiguity of the song cycle is refreshing. Nothing feels imposed nor forced. The performers generously invite you to be a part of this organically atmospheric event where you’re allowed to draw your own conclusions as to what the waves of sound represent. Each β€˜song’ offers a new emotional response, which by the end, leaves you feeling practically worn out. With its unique location and soundscapes, Undersong is a piece that can only be truly appreciated once fully experienced.

 

Reviewed by Phoebe Cole

 


Undersong

Ovalhouse until 9th June

 

Related
How related
This Restless State | β˜…β˜…β˜… | March 2018
Random Selfies | β˜…β˜…β˜… | March 2018
Standard: Elite | β˜…β˜…β˜…β˜…β˜… | May 2018

 

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

 

 

Standard: Elite – 5 Stars

Elite

Standard: Elite

Ovalhouse

Reviewed – 24th May 2018

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“The whole performance situates the audience in a mental space of outrageous laughter and simultaneous thought provocation”

 

As we continue to hear more details about the Grenfell Tower fire through the latest in the inquiry this week, it seems the subject of class difference in the U.K. is more prevalent than ever before. There couldn’t have been a more appropriate time to see Hidden Track Theatre’s award-winning production, Standard:Elite.

For many, audience participation is the stuff of nightmares, particularly if said participation is forced, accompanied by a copious amount of pressure from both the cast and the rest of the audience. Often theatre pieces that are driven by audience participation can feel a little stressful for the audience, and frequently are held together with β€œplanted” audience members who are really extended members of the cast. However, in this instance, Hidden Track Theatre make a point that whilst audience involvement is an important aspect of the piece, it is not the focus and that no one should at any point feel pressured to join in. This is mentioned before the start of the show, as well as repeated throughout to the point where under each seat there was a card that anyone could use if they felt uncomfortable.

With this careful consideration, Hidden Track manages to create a beautifully inviting environment from the moment you walk into the theatre space. The seating is divided between β€˜standard’ and β€˜elite,’ the latter of which sits on the stage itself. The piece presents itself as a game, through various intricate narrative layers, whereby the aim is for β€˜standard’ audience members to gain β€˜elite’ audience status where you have control over the play’s storyline.

Standard:Elite is a show brimming with energy and heart, wonderfully written by Elliot Hughes and brought to life by both himself and Sophie MacKenzie. For a show that constantly jumps between a variety of performance styles as well as narrative spaces it is no mean feat for the actors who were outstanding.

It’s a wonderfully refreshing concoction of hilarity, Derren Brown-eque psychological torment, captivation and incredible depth. The whole performance situates the audience in a mental space of outrageous laughter and simultaneous thought provocation. Standard:Elite is a timely social commentary of Britain today and provides the perfect vehicle to spark conversation about the class disparity around us and what we can try to do, as a collective, to change the future.

 

Reviewed by Claire Minnitt

 


Standard: Elite

Ovalhouse

 

Related
Previously reviewed at this venue
Medea Electronica | β˜…β˜…β˜… | January 2018
This Restless State | β˜…β˜…β˜… | March 2018
Random Selfies | β˜…β˜…β˜… | March 2018

 

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