Tag Archives: Rah Petherbridge

Tarot

Tarot

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VAULT Festival 2020

Tarot

Tarot

Forge – The Vaults

Reviewed – 29th January 2020

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“discipline, creativity and spontaneity collide, tension rises and falls, pace quickens and slows”

 

Amidst the multitude and diversity of acts at VAULT Festival, β€˜Tarot’ offers a unique experience which brings together the creative talent and flair of The Feathers of Daedalus Circus, soul-funk group, Yoshi and the charmingly wry yet piquant host, Ruby Wednesday. As we enter the Forge, the underground jazz club cabaret scene is set as the band sit on stage in the semi-dark, conjuring up a mystical soundscape. Through a brief introduction and explanation of tarot, Ruby Wednesday’s seductive sharpness leads the audience into the deck of images and enigmas. The show begins. Cards in turn are defined by the host and illustrated by dramatic acrobatics and aerial expertise; the Fool dances on his hands, the Hanged Man twists and turns on the rope, hand to hand balancing depicts Strength and the Devil contorts around suspended chains. The troupe (Imogen Huzel, Josh Frazer, Tessa Blackman and Lauren Jamieson) alternate their set pieces with improvised numbers during Ruby Wednesday’s live tarot readings with members of the audience. And as if this were not enough, the eclectic band of musicians produce a lavish range of styles to accompany the pictures. Equally at home playing sleazy jazz as atmospheric ethnic timbres or electronic sound design, lead singer, Ben Smith also gives us some inspired vocal improvisation and rap.

The team works together with a refreshing lack of protagonism and there is always something on stage to watch – if not the aerial hoop or Cyr wheel, then the bassist and drummer playing a gamelan duet or Ruby Wednesday’s fiery finale. It is true that β€˜Tarot’ ties together a rather random collection of skills and ideas; discipline, creativity and spontaneity collide, tension rises and falls, pace quickens and slows. But it succeeds through the abundance of craftsmanship and the unusual proximity to this kind of performance, which immerses us in the technical and inventive worlds.

Irresistibly watchable, β€˜Tarot’ is original, free-spirited and entertaining.

 

Reviewed by Joanna Hetherington

Photography by Rah Petherbridge

 

VAULT Festival 2020

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Sh!t-Faced Showtime: A Pissedmas Carol

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Leicester Square Theatre

A Pissedmas Carol

Sh!t-Faced Showtime: A Pissedmas Carol

Leicester Square Theatre

Reviewed – 28th November 2019

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“bountiful instances of quick-witted, gleeful silliness”

 

Audiences are a voyeuristic bunch – from found-footage horror films to The Play That Goes Wrong, there is a proven appetite for watching things where what’s being shown feels like it shouldn’t be seen. So it’s no surprise that Magnificent Bastard Productions have struck gold with their format in which they get one of their actors drunk and have to roll with whatever punches they throw during the show. They’ve found success with both Sh*t-Faced Shakespeare and Sh*t-Faced Showtime previously, and that can now be counted as a triumvirate of triumphs with their new festive show, A Pissedmas Carol.

A Pissedmas Carol follows the plot of Charles Dickens’ classic A Christmas Carol with a cast of five and a script by Lewis Ironside. Or it intends to follow the plot, anyway, although the actor who’d got through two beers, a shot of vegan Baileys, and two thirds of a bottle of Captain Morgans over the course of four hours preceding the show lobbed most of the script out the window. The rules set out by the show’s MC (who incidentally, was Charles Dickens – played with adorable joviality by Will Seaward) dictate that whatever that actor chooses to do, the others must improvise around it. With a group of exceptional improvisers such as this, such a format leads to boundless hilarity. Once this performance’s drunk actor Daniel Quirke chooses to lick a castmate’s nose as a greeting, it becomes a running gag throughout the show, and when Quirke changes the ending of the story on the fly by putting Scrooge in a coma for forty years, the change is embraced fully by the other actors. The fundamental rule of improv – always say yes – is taken very seriously, which results in bountiful instances of quick-witted, gleeful silliness.

The improv and alcohol-heavy nature of the show could very easily lead to wearisome indulgence in the performances, but thankfully there is a keen awareness from the cast, as well as clear measures to ensure the experience is always firmly centred around audience enjoyment – the MC will sometimes usher things along, or Charlotte Brooke’s piano accompaniment will lead the scenes forward. The audience are also invited to deepen the chaos, as select members are able to put another drink in the inebriated actor’s hand when they so wish. By the end of the show, Quirke had got through a further three beers, which kept the voyeuristic excitement ramping up.

As mentioned, the performances are roundly excellent, and the fun that these actors are clearly having on stage with each other permeates through to the audience. They capitalise on every unexpected comic opportunity, with James Murfitt as Scrooge and Katy Baker (who also directed) as the Ghost of Christmas Past standing out in a scene where – thanks to Quirke’s machinations – their rendition of ‘Walking in the Air’ as they flew to the past brought on reams of laughter. That’s not the only song either – A Pissedmas Carol features a host of Christmas classics, all fantastically sung, from Issy Wroe-Wright’s scene-stealing ‘Last Christmas’ to the gorgeous harmonies in ‘Fairytale of New York’.

A Pissedmas Carol has carved out a format that sets it apart from any other Christmas show, yet also puts it head and shoulders above them. Forget panto – this is the most fun you’re going to have in a theatre this festive season.

 

Reviewed by Ethan Doyle

Photography by Rah Petherbridge

 


Sh!t-Faced Showtime: A Pissedmas Carol

Leicester Square Theatre until 5th January

 

Previously reviewed at this venue:
Murder, She Didn’t Write | β˜…β˜…β˜… | February 2018
Sh!t-faced Shakespeare:Β The Merchant of Venice | β˜…β˜…β˜…β˜… | April 2018
Sh!t-faced Shakespeare’s Romeo and Juliet | β˜…β˜…β˜…β˜… | June 2018
Murder She Didn’t Write | β˜…β˜…β˜…β˜… | September 2018
Sh!t-faced Showtime:Β OliverΒ With a Twist! | β˜…β˜…β˜… | September 2018
Stick Man | β˜…β˜…β˜…Β½ | October 2018
Sh!t-Faced Showtime: Oliver With A Twist | β˜…β˜… | March 2019
Sh!t-Faced Shakespeare: The Taming Of The Shrew | β˜…β˜…β˜…β˜…β˜… | April 2019
Sh!t-Faced Shakespeare: Hamlet | β˜…β˜…β˜… | June 2019

 

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