Tag Archives: Rebecca Cuthbertson

A Midsummer Night’s Dream

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Criterion Theatre

A Midsummer

A Midsummer Night’s Dream

Criterion Theatre

Reviewed – 10th December 2019

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“If you need a boost, a good laugh and some quality theatre, get yourself along to enjoy this treat of a show.”

 

This production by the National Youth Theatre, in association with Knee High, is delightful. It was lovely to see and hear the energetic and talented young cast speaking Shakespeare as naturally as if they were out with their mates; different accents relished too.

The NYT says in the programme, β€˜We are more than a theatre company. We put young people centre stage. We empower young people to be part of something BIGGER. We create amazing shows. We nurture tomorrow’s creatives …We celebrate the individuality and diversity of Britain’s youth in all it’s forms.’ In this production they showcased a wonderful ensemble who brought Shakespeare’s cherished comedy to vibrant life and kept the audience well entertained.

Bottom was played by Jemima Mayala with enormous energy and bubbling humour. She had us all in stitches, and she can really sing too. Ella Dacres gave us a contemporary teenage Puck, mischievous and cool and Bede Hodgkinson was a remarkably strong and mature Oberon, with more humanity in his fairy meddling that is often evident. Helena and Hermia, played by Jamie Foulks and Julia Kass were particularly fun in the famous row in the woods. It worked having a male Helena, and Foulks managed it without a trace of affectation. Billy Hinchliff’s Lysander was so changed by the fairy influence that he became a posturing, hilarious dandy, strutting and puffing out his chest, a bit like a bonobo on heat. It was brilliant. Every cast member, even those with smaller parts, was memorable; Jordan Ford Silver’s Wall and Joseph Payne’s Lion were lovely comedy gems, and Raj Singh made his little β€˜moon’ shine brightly.

Director Matt Harrison has allowed his young cast to unleash their naturalness and enjoyment in this ageless text, giving it a contemporary, playful and relatable feel. The abridgement was accomplished by Kate Kennedy without losing any of the essential story or charm of the piece, and bringing it in at ninety minutes. The action is set in Athens on Sea, a playful imagining with a waltzer car, a fish and chip shop and balloons, a perfect setting for the action, which includes some punchy dance numbers, choreographed by Rebecca Cuthbertson and performed with sparkle and pzazz by the ensemble.

This was the first National Youth Theatre production that I have seen, and it won’t be the last. If you need a boost, a good laugh and some quality theatre, get yourself along to enjoy this treat of a show.

 

Reviewed by Katre

Photography by Helen Murray

 


A Midsummer Night’s Dream

Criterion Theatre until 17th January

 

Previously reviewed at this venue:
The Comedy About a Bank Robbery | β˜…β˜…β˜…β˜…β˜… | April 2018

 

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Equus

EQUUS

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Trafalgar Studios

Equus

Equus

Trafalgar Studios

Reviewed – 15th July 2019

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β€œto praise each element of Equus individually is unfair, because it is the tandem of these parts that makes the production truly divine.”

 

It isn’t uncommon to see a play emotionally move an audience – to make them feel the pathos or joy that the characters are experiencing. However, I could count on one hand the number of times I’ve seen theatre physically move an audience – to make them lean forward, gasp, and let their jaws hang for extended periods of time. It’s a testament to the power of Equus, then, that the audience member sat next to me – along with many others – barely seemed to even be in their seat, so moved were they by the ferocious and sinewy stallion of a play that was taking place.

Equus centres on Alan Strang (Ethan Kai), a seventeen-year-old boy who blinded six horses over the course of one night. It rests with psychiatrist Martin Dysart (Zubin Varla) to uncover the motivation behind the crime, although in doing so he is also forced to interrogate his own beliefs on religion, passion, and purpose. The story is framed chiefly around this patient-doctor dynamic, although a host of other characters are implicated in Martin’s analysis, including Alan’s parents Dora (Doreene Blackstock) and Frank (Robert Fitch), forming a claustrophobic and tense psychological drama. But the true genius of Peter Shaffer’s writing (also of Amadeus fame) is that this paradigm is only one of the levels on which Equus operates; bubbling under the scientific surface is a much more non-secular interrogation of the social and cultural values that cultivated the environment in which Alan could be compelled to carry out such acts as he did. Shaffer’s rhetoric can be transcendentally poetic, weaving metaphor upon metaphor into a textured tapestry that cuts to the very core of what it means to be alive.

The writing never strays into the territory of being overly-ruminative though. Ned Bennet’s visceral and kinetic direction ensures that the intellectual complexities of the play are being constantly physicalised and theatricalised, with the help of Shelley Maxwell’s inventive and raw movement direction; Alan’s bed being used as a trampoline on which he is brutally flung around under a vicious strobe light, for example, serves to manifest the emotional realities of the character. This is heightened tenfold by the soul-searing strings of the sound design (Giles Thomas), the unnerving, subliminal lighting (Jessica Hung Han Yun), and the slick and stripped back set design (Georgia Lowe). The performances, too, are roundly sublime – Varla especially is revelatory, fully owning the hefty language of his many monologues, immaculately delivering the thematic nuance of the speeches with drive and agency. Credit must also go to the transportive ensemble and animal work, as many of the cast also embody horses during the play, particularly Ira Mandela Siobhan as Nugget.

However, to praise each element of Equus individually is unfair, because it is the tandem of these parts that makes the production truly divine. The quality of the writing exacerbates the direction, which exacerbates the performances, which exacerbates the design, and so on ad infinitum. It constructs a whole reactor of impeccably crafted atoms, all meteorically colliding with each other in a seamless symbiosis that creates the nuclear level of theatrical and spiritual energy that is transferred to the audience and galvanises them to move. Equus is utterly celestial.

 

Reviewed by Tom Francis

Photography by The Other Richard

 

Equus

Trafalgar Studios until 7th September

 

Last ten shows reviewed at this venue:
A Guide for the Homesick | β˜…β˜…β˜… | October 2018
Hot Gay Time Machine | β˜…β˜…β˜…β˜…β˜… | November 2018
Coming Clean | β˜…β˜…β˜…β˜… | January 2019
Black Is The Color Of My Voice | β˜…β˜…β˜… | February 2019
Soul Sessions | β˜…β˜…β˜…β˜… | February 2019
A Hundred Words For Snow | β˜…β˜…β˜…β˜…β˜… | March 2019
Admissions | β˜…β˜…β˜… | March 2019
Scary Bikers | β˜…β˜…β˜…β˜… | April 2019
Vincent River | β˜…β˜…β˜…β˜… | May 2019
Dark Sublime | β˜…β˜…β˜… | June 2019

 

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