Tag Archives: Robert Day

Noughts and Crosses
★★

Theatre Royal Brighton & UK Tour

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Noughts and Crosses

Noughts and Crosses

Theatre Royal Brighton & UK Tour

Reviewed – 19th March 2019

★★

 

“misfires terribly, covering too many issues without any real cohesion and substance”

 

The idea of Noughts and Crosses appears a simple one. The tables have turned and the power in the world rests with the black population, not the white. We have the Crosses that epitomises power, wealth and political dominance and then the Noughts, second class citizens who are discriminated against because of their beliefs and are banned from interaction with the Crosses.

The story of Noughts and Crosses follows two teens from opposing sides of society, Sephy (Heather Agyepong), a Cross and Callum (Billy Harris), a Nought. We start by seeing their childhood innocence but that soon shifts onto much darker tones.

Throughout the piece we identify the rest of the cast (Doreene Blackstock, Jack Condon, Daniel Copeland, Lisa Howard, Chris Jack and Kimisha Lewis) jumping between characters. From parents of the two teens to members of rebellious militia groups amongst others. This could be a real strength of the piece but however falls flat with no real clear distinction vocally from the actors to differentiate between the roles which is ultimately confusing for the audience.

In the Noughts and Crosses novel series Malorie Blackman understands who we are as people better than most. The characters she’s created, in Sephy and Callum particularly, have depth but are poorly transitioned onto stage by adapter Sabrina Mahfouz. I do sympathise with Mahfouz however as it is an ambitious effort to translate all the themes from the first two novels, which Noughts and Crosses is based on, into just two hours. Above all I feel there is a clear generation gap in the writing, condescending in its approach to youth issues. The use of phrases such as ‘Flipping Sod’ makes us cringe rather than connect.

The saving grace in this production however comes from the design team, in that of Josh Drualas Pharo (Lighting) Arun Ghosh (Music), Xana (Sound), Adam McCready (Sound Engineer) Ian William Galloway (Video) and Simon Kerry (Design). The arrangement echoes The Curious Incident of The Dog In The Night Time, a sparse stage with hidden compartments and doors. The attractive set helps the transitioning of scenes seem effortless.

Overall Noughts and Crosses misfires terribly, covering too many issues without any real cohesion and substance. Rape, physical abuse, teenage pregnancy and radicalisation are all pertinent issues however the end result is chaotic and clumsy; a condescending scattergun of the analysis of youth and love.

 

Reviewed by Nathan Collins

Photography by Robert Day

 


Noughts and Crosses

Theatre Royal Brighton until 23rd March

then UK Tour continues

 

Previously reviewed at this venue:
This is Elvis | ★★★ | July 2018
Salad Days | ★★★ | September 2018
Rocky Horror Show | ★★★★ | December 2018
Benidorm Live! | ★★★★ | February 2019

 

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The Messiah
★★★★

The Other Palace

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The Messiah

The Messiah

The Other Palace

Reviewed – 11th December 2018

★★★★

“brims with intelligent, self aware, sharply crafted stagery”

 

Of all the British theatre traditions, the Christmas Pantomime is the one that survives most intact into the digital age. Companies as diverse as Stratford East, Theatre 503, and of course Hackney Empire produce amazing work keeping the institution alive. For other audiences, a tasteful interpretation of Ebenezer Scrooge’s misfortunes or an elegant, orchestral candlelit carol service might mark the holiday season.

With Lesley Garrett’s ethereal voice and John Marquez and Hugh Dennis’ brilliant comic timing, The Messiah is the best of both of these worlds. It’ll hold up well in front of a family audience, with plenty of innocent, wholesome wordplay alongside bawdier jokes, old-fashioned physical slapstick, and audience participation sequences that will have grown adults clutching each other with sheer glee. But there are also treasures to uncover for those who come looking for theatre to sink their teeth into.

The set design is so beautiful it manages to make me nostalgic for a period I wasn’t around to see. So many details in the choreography and lighting are lovingly put together to enhance the mood and even the intermission music recalls a golden age of epic biblical films.

With the cast, it’s impossible to really dislike Hugh Dennis’ Maurice. The actor is just too endearing, so his character isn’t pompous or nasty enough to need taking down a peg or two. John Marquez’s lovely Ronald spins right through from bumbling crotch gags to very spare, excruciating glimpses into his lonely life.

Patrick Barlow’s anarchic, sincere production has a certain homemade charm but brims with intelligent, self aware, sharply crafted stagery. It’s not difficult to see why his beloved 39 Steps ran for nine years on the West End.

I left The Other Palace thinking that the scope of someone’s theatrical ambition is achieved heart-first. Their spiritual awakening is a personal responsibility. And you know what? Sometimes a big Pinocchio nose is just very, very funny.

 

Reviewed by Cesía León-Alvarez

Photography by Robert Day

 


The Messiah

The Other Palace until 5th January

 

Previously reviewed at this venue:
Eugenius! | ★★★★ | February 2018
Suicide | ★★★½ | May 2018
Bromance: The Dudesical | ★★★★ | October 2018

 

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