Tag Archives: Paul Morrall



Chickenshed Theatre Online



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Reviewed – 25th September 2020



“the whole piece is a show of inspiring collective effort”


Three panels hang above the stage projecting footage of the earth. Beneath them facts about the rainforest and overpopulation arrive on the back wall in orange and then disappear. One by one people begin to sing of “The Earth and I” as the stage brightens. Then it is all change. The warm reds and long notes transform into a blue stage which people speed across, an indication of the pace of the modern world. Bodies are packed together, moving herd-like.

This is the impactful opening of ‘Globaleyes’, a contemporary physical theatre work tackling the vast subject of globalisation. Across the course of the performance the dances focus on climate change, poverty, displacement, war and slave labour – hardly a small task. The show originated in 2002, and this recording, which Chickenshed are streaming in response to the impact of Covid-19 on theatres, is of the 2013 production. It features Chickenshed’s company members, 200 Chickenshed students and members of their adult theatre group in a refreshingly diverse ensemble of performers.

Globaleyes features a range of performance styles, some closer to dance, others more in the realm of physical theatre, some solo performances, some unison ensembles. This variety of styles, as directed by Christine Niering with Jonathan Morton and Louise Perry, shaped and defined each of the different themes. In a particularly strong number, two sets of two performers are tied together, turning each duet into many-limbed single beings which create spider-like shapes across the stage.

Changes in light and sound also dictated each new phase of the piece. Branches projected across hanging fabric (set construction by John Mann) are accompanied by incredibly tranquil music. Performers are turned into a homogenous silhouette by light. Sometimes music is interrupted by audio snippets from news reports and politicians speaking, including notably a speech that was made at Martin Luther King’s funeral. The hanging screens display a range of footage, historical and custom-made, to highlight the themes of each number. Both light design, sound design and music are vital to this piece, and Andrew Caddies (lighting design), Phil Haines (sound design) and Dave Carey (Musical Director) do a fantastic job of creating each new atmosphere.

Some of the scenes offer more impact and more clarity than others. Certain sections feel overly long without delving as deep as they could into the topic they are tackling. The challenges of creating a piece that has such a broad focus is apparent at times.

But from the creative team to the performers onstage, the whole piece is a show of inspiring collective effort. Watching this seven years on from when it was filmed, the continued resonance of the themes is clearly evident. The final message of Globaleyes is one of hope in the possibility of change and the power of community.



Reviewed by Amelia Brown

Photography by John Pridmore



Chickenshed Theatre YouTube Channel


Last ten shows reviewed by Amelia:
Afterglow | ★★½ | Waterloo East Theatre | October 2019
Germ Free Adolescent | ★★★★ | The Bunker | October 2019
Before I Was A Bear | ★★★★★ | The Bunker | November 2019
I Will Still Be Whole (When You Rip Me In Half) | ★★★★ | The Bunker | November 2019
My White Best Friend And Even More Letters Best Left Unsaid | ★★★★ | The Bunker | November 2019
Potted Panto | ★★★★ | Southwark Playhouse | December 2019
The Girl With Glitter in Her Eye | ★★½ | The Bunker | January 2020
Essence | ★★½ | The Vaults | February 2020
Flights | ★★★½ | Omnibus Theatre | February 2020
Maliphantworks3 | ★★★★★ | The Coronet Theatre | February 2020


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Jekyll & Hyde – 4 Stars


Jekyll & Hyde

Chickenshed Theatre

Reviewed – 27th September 2018


“a clever interpretation of a classic story with some impressive performances from a talented diverse cast.”


The Robert Louis Stevenson story of the nature of humanity and potential for us all to choose to do both good and evil is vividly explored in a new musical opera version of “Jekyll and Hyde” by a dynamic young cast in the Studio performance space at Chickenshed Theatre. The audience enter the Studio along a Victorian street and sit on four banks of rather uncomfortable bench seats facing each other across the cobbles. Flickering street lamps and Victorian smog set the scene. A bridge and sewer below face down to Jekyll’s house and the evocative set designed by Constance Villemot is well used throughout.

The writing team (music by Dave Carey and Hannah Bohlin with lyrics by Paul Morrall) chose to use modern music and words to update the story for today. With director Jonny Morton, they also made the decision to reorder and perform the story chronologically to make it more accessible to a modern audience.

The opera requires careful concentration as it moves quickly through events with two halves of around thirty five minutes each. The music has been prerecorded but all the singing is live. There are twenty-one songs in a variety of styles and enough repetition to make the audience feel familiar with the music during the show.

Chickenshed has an inclusive ethos and the cast reflected this. The dual role of Jekyll/Hyde was performed by Nathaniel Leigertwood. He contrasted the two roles most effectively and the physicality of his transformations and violence as Hyde clearly scared two audience members opposite me. Nathaniel has long dark curly hair which he released from a ponytail as Hyde and used to disguise his face most successfully. His friend and lawyer Utterson was played by Demar Lambert and Dr Lanyon was sung confidently by Finn Kebbe. Sir Danvers Carew was performed by Ecevit Kulucan and Poole by Will Laurence. Vocal performances were generally strong although there were moments when the score was too demanding for individuals.

The chorus were both dancers and singers and their performance was pivotal to the success of the production, with dynamic choreography by Michael Bossisse. The lighting by Andrew Caddies really enhanced the opera throughout. There is a clever piece of stagecraft at the end of the opera which surprises the audience and allows them further insight into the dilemma that Jekyll has faced, forming a neat conclusion to the opera. This is a clever interpretation of a classic story with some impressive performances from a talented diverse cast.


Reviewed by Max Bender

Photography by Natalie Greco


Jekyll & Hyde

Chickenshed Theatre until 20th October


Previously reviewed at Chickenshed:
Monolog | ★★★ | February 2018
Don’t Stop Thinking About Tomorrow | ★★★★ | March 2018
One Flew Over The Cuckoo’s Nest | ★★★ | April 2018
Mr Stink | ★★★★★ | July 2018


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