The cinematic path to Skull Island and the fabled beast King Kong is a well trodden one since the first film in 1933 up to the recently released Kong: Skull Island starring, amongst others, Tom Hiddleston.
Less trodden is the theatre path but that has changed with the opening of Daniel Clarkson’s engaging comedic re-imagination of the Kong story at the atmospheric Vaults underneath Waterloo Station.
Clarkson, a self–confessed cinephile, has previous success from his critically acclaimed ‘Potted’ stage shows that included the Olivier nominated Potted Potter. Being a huge fan of the 1933 classic King Kong he wanted to create a spoof comedy version for the stage and his work is now available for all to see.
Keeping close to the original film storyline, filmmaker Carl Denham charters a New York ship for a project but is unable to secure an actress for the female role. After a search he finds penniless Ann and convinces her to join the crew for an adventure of a lifetime. They head for Skull Island.
There follows a series of adventures that culminate in the capture of Kong, who is brought back to New York to be paraded as the Eighth Wonder of the World. Eventually escaping and climbing the Empire State Building, Kong is shot and falls to his death. Denham says the classic line ‘it wasn’t the airplanes, it was Beauty that killed the Beast’.
Set designer Simon Scullion makes the most of the arched space and has created an adaptable four tier pyramid set that creates a sense of the ship, Skull Island and the Empire State Building. The sound is loud and clear bringing in particular a hidden beast to life. Lighting is basic but effective.
The five competent actors play various roles and each commands the set throughout the 80 minute show. Various props are brought onto the set and there is a hilarious use of puppetry in the ‘sacrifice’ scene.
Rob Crouch as Denham (looking every part the film director in his linen suit) has a strong voice that leads us through the storyline. Ben Chamberlain plays the wimpy sailor scared of almost everything but provides the love interest with Ann (Alix Dunmore). Sam Donnelly is the archetypal seafaring Skipper and Brendan Murphy is a hilarious Token Guy. The cast obviously enjoyed bringing this comic romp to the stage.
Fans of King Kong will undoubtedly want to witness this show though it does has a much wider appeal and there was a good cross section of ages in the audience. Whether those younger members quite understood some of the humour is questionable but they would have enjoyed the visual delights on offer.
The show was laugh out loud in places and mildly funny in others. The humour seemed to represent a mixture between pantomime, an end of the pier show, Monty Python and a little bit of Marx Brothers. There was a feeling though that the whole wasn’t greater than the sum of its parts.
In conclusion this was a well acted and presented show that made for a fun night out and a tonic for those wanting a bit of silliness to brighten their week. It is indeed a bananas production and worth a visit.
“an exciting, moving, hilarious and provocative piece of theatre”
The first thing we hear from Tiffany (Rosie Wyatt) is an extended burp, caused by her opening and downing a can of Diet Coke on stage. It’s a good introduction to this immensely visceral play, in which the playwright, Sarah Kosar, explores the pain that stems from grief and emotional isolation by putting the body centre stage.
The metaphorical is made concrete. It’s a simple, but effective theatrical concept, and is cleverly offset by the striking visual projections behind the action, which serve as a continual reminder of the online world which we all increasingly inhabit.
Photography courtesy of Lidia Crisafulli
Kosar is a playful playwright, both in her willingness to embrace the surreal, and the evident pleasure she takes in the spoken word. There are some wonderful Ortonesque moments – ‘And I just lost my mum. My parent. I’m a half-orphan now’, Tiffany spits at her dad (Andrew Frame) towards the beginning of the show. I also loved the sections of Kate Tempest inspired spoken word in the piece, in which Tiffany tries to make sense of her painful emotional landscape.
Despite the subject matter, the play is also extremely funny, and it’s a testament to both the playwright and the two performers that this reviewer both cried with laughter and was moved to tears within the show’s 75 minute time frame. Andrew Frame’s Hugh was a poignant portrait of a man initially paralysed by the loss of his wife, slowly returning to the world and re-finding his relationship with his daughter.
Witnessing him open up, both physically and vocally, over the course of the play, was a delight. Although I could have done with a little more tonal variation, Rosie Wyatt was convincing too as the neurotic 25 year old Tiffany, weighed down by the loss of her mother, inching towards the light. Tommo Fowler’s able and subtle direction allowed each character to breathe, and the design team (Robbie Butler – lighting; Odinn Orn Hilmarsson – sound; Charlotte Henery – set and costume; Fed – projection) created an arresting visual and aural world.
Mumburger is an exciting, moving, hilarious and provocative piece of theatre. Kosar is clearly a talent to watch.
