After a successful run at Wyndnam’s Theatre, The Kite Runner returns to London for a limited season at the Playhouse until the end of August.
Adapting such a well known, international best selling novel for the stage is a huge risk but Matthew Spangler manages to successfully transfer this evocative and powerful story from page to stage well.
With David Ahmad as Amir the scene is set with narratives delivered direct to the audience explaining the intricacies of the friendships and lives of 2 very different boys, highlighting key events which will turn their lives upside down. David plays the role of both Amir the boy and the man. Although he plays the part of Amir the man well there is something lacking with Amir the boy – the innocence feels like it’s missing. However, Andrei Costin as Hassan/Sohrab provides the character with a haunting innocence that portrays the sense of a truly good person. You immediately warm to him and instinctively want to protect him.
Emilio Doorgasingh gives a stand out performance as the incredibly proud Baba. Towering over the other characters physically he has a presence that portrays an innate strength despite the fact that he is carrying a secret which conflicts with his strong moral code. A truly memorable performance comes from Bhavia Bhatt as the abhorrent and evil Assef.
The simple set takes you through the years and transfers you from continent to continent without distracting from the acting.
This is a heartbreaking story which makes for a great stage play. The pockets of humour sprinkled throughout provide a welcoming lightness although I had an expectation that the play would be more emotionally charged.
A thoroughly enjoyable play but I felt that it slightly lacked in emotion to make it a truly wonderful production.
Trinity, created by Brave New Worlds, consists of three multitalented performers combining and utilising their skills in dance, movement, sceneography and dressmaking to create an encompassing piece of work focusing on the feminine and its forms
The Asylum, Caroline Gardens Chapel in Peckham is the unusual setting for this piece. Built in 1826 and used up until WW2, when the area was heavily bombed, it stood strong in surviving The Blitz but remained empty ever since. With remarkable original features such as the stained glass windows and memorial plaques, the venue itself is attraction enough in seeing this piece of work. Since 2010 it has been adopted as an arts venue and Trinity makes the most of this abandoned setting. Clever lighting (Darren Johnston) and sound effects (Demetrio Castellucci) add to the eeriness of the chapel.
Unfortunately the lighting was a little dark and anyone from the 2nd row back struggled to see the floor work. However the sound appropriately matched the feel of the piece as the bass rattled audiences chests and echoed in to the rafters.
The piece itself explored femininity in its many forms and I was drawn to how the female body is perceived in different contexts. An eerie and foreboding piece with loud music, haze and darkness, with minimal linearities, made me ask – are the audience meant to be scared of the feminine? Or are the creators fearful themselves? I still don’t know but the fact I’m asking those questions is what Trinity wants.
The highlight of the piece were the spectacular costumes which used a range of shapes and materials to add to the abstract feel of the performance. Encompassing lights, charcoal, full body suits and plastic, the costumes and the space itself make Trinity an interesting 50 minute watch.
Reviewed by Lucy Marsh
Trinity
by Brave New Worlds
Presented by Ovalhouse and Brave New Worlds is at The Asylum, Caroline Garden’s Chapel until 27th June
