Tag Archives: Talia Pick

How We Begin

★★★★

King’s Head Theatre

How We Begin

How We Begin

King’s Head Theatre

Reviewed – 11th August 2019

★★★★

 

“It’s always wonderful to see roles written for women that are robust and real”

 

Surfacing Act Theatre present their debut play, How We Begin at the King’s Head Theatre in Islington. Written by Elisabeth Lewerenz, it depicts the beautifully complex love story of best friends Helen and Diana.

How We Begin is described, by the company, as ‘a queer female love story, told in a way, which has never been told before’ and after watching the show you can understand why they would so, boldly, declare this. Their production, certainly, has a unique voice and style that sharply defines itself. Surfacing Act Theatre was founded in 2019 when Elisabeth Lewerenz and Elizabeth Benbow (director) met during the VAULT Festival’s New Writers Showcase. Finding a kindred affinity for storytelling, they joined forces to write queer narratives which are often overlooked and left on the periphery of our stages.

The show begins with Helen (Talia Pick) and Diana (Emma Lucia) who intimately share their journey of friendship to secret lovers and then back to friendship again. This cyclical love tale; poignant and incredibly witty, was deftly navigated by Pick and Lucia who portrayed the vulnerable and conflicted characters with great emotional intelligence. Both actresses were confident, displaying perfect comic timing as they bantered on stage. Their presentation of the flexible duality of love, delicately peeled away the binary spectrum so predominantly seen. It’s always wonderful to see roles written for women that are robust and real. Lewerenz’s writing provided the platform for these actresses to thrive and Benbow’s direction was the catalyst to making the piece a seamless and engaging watch.

The stage was designed (Delyth Evans) with minimalist precision and though the space was not particularly large, somehow, it began to expand before our eyes; transporting us from one location to the next. This illusion was facilitated by the subtle lighting cues (Lucía Sánchez Roldán) that silently sang alongside the action whilst steering the direction of the play. Such is the magic of theatre when it is done well – all wheels of the production moving in one smooth motion.

The true power of this play, however, is in the ‘ordinariness’ of it. It is a transferable story, relatable to all ages, genders and demographics and yet this ordinary story (and those like it) are ignored and rarely represented. How We Begin opens up the box that queer love is repeatedly stuffed into and draws out the many layers and nuances that exist within it.

Surfacing Act Theatre have created an astute, professional and accomplished production. If this is what they achieve as a debut, then they have a bright future ahead of them.

 

Reviewed by Pippin

Photography by Charlie Sambrook

 

kings head theatre

How We Begin

King’s Head Theatre until 12th August

 

Previously reviewed at this venue:
Undetectable | ★★★★ | March 2019
Awkward Conversations With Animals … | ★★★★ | April 2019
HMS Pinafore | ★★★★ | April 2019
Unsung | ★★★½ | April 2019
Coral Browne: This F***Ing Lady! | ★★ | May 2019
This Island’s Mine | ★★★★★ | May 2019
Vulvarine | ★★★★★ | June 2019
Margot, Dame, The Most Famous Ballerina In The World | ★★★ | July 2019
Mating In Captivity | ★★★★ | July 2019
Oddball | ★★★½ | July 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Much Ado About Nothing – 4 Stars

Ado

Much Ado About Nothing

Katzpace Studio Theatre

Reviewed – 15th October 2018

★★★★

“plays actively on the comic element with quick-witted interaction and lively, farcical staging”

 

Bursting with ideas and inspiration, Exploding Whale’s retailored model of Shakespeare’s most frequently performed comedy reveals a wealth of new talent. Hidden beneath Katzenjammers’ Bierkeller, Katzpace is an interestingly-located, if somewhat incommodious studio space and home to this vibrant young theatre company.

The modern corporate setting of this adaptation is an excellent choice as a venue for social intrigues as well as a vehicle for the shifting of traditional gender roles. In this version, Don Juan is a female executive and several minor characters have become women in the workplace. Director, Ellie Morris, creates beautifully contrasting moods while the story unfolds. As they arrive for work, each personality is immediately established and the spirited pace allows for an atmosphere of bustling office banter. However, it is never a mistake to take time over establishing complicated backstories and plots; even for those familiar with the play, the energy of the opening rushes through the initial set up as we learn the latest line-up. The first half plays actively on the comic element with quick-witted interaction and lively, farcical staging, though sometimes the quality becomes patchy and we lose the tension and conviction of the characters. In the second, the drama comes together and we experience an unusually powerful sense of tragic relief, sobering the mood for a dose of reality.

In this redesigned cast, the two central couples find a perfect blend of tone and attitude which place them in the present day. The nonchalant pretence of Talia Pick’s Beatrice complements Gregory Birks’ carefree, comic front as Benedick, breaking eventually in a touchingly affectionate scene. Ava Pickett as Hero and in particular, Julian Bailey-Jones as Claudio, grow with passion from starry-eyed young lovers, experiencing the powerful feelings of betrayal, anger and grief. Octavia Gilmore portrays a manipulating Don Juan and James Irving as Hero’s father, Leonato, asserts himself in the second half. There is an enjoyably quirky Dogberry from Charlotte Vassell, but many of the secondary roles are changed or omitted and the distinction and balance between their updated versions is not always clear.

A room below a beer cellar is certainly a change from one above a pub but it has its practical drawbacks. Visibility is sometimes obscured by a couple of pillars and made uncomfortable by the glaring, low spot lights. Technical aspects aside, Exploding Whale’s production captures the fundamental essence of these two couples, exploring the timelessness of their relationships as well as putting more women on the stage. The clever, contemporary setting and details, dynamic direction and wonderful acting make this a ‘Much Ado’ which spans our emotions and entertains at the same time.

 

Reviewed by Joanna Hetherington

 


Much Ado About Nothing

Katzpace Studio Theatre until 24th October

 

Previously reviewed at this venue:
Gaps | ★★★ | April 2018
What the… Feminist?! | ★★★★ | April 2018
Obsession | ★★★ | June 2018
Let’s Get Lost | ★★★ | July 2018
Serve Cold | ★★ | August 2018

 

Click here to see more of our latest reviews on thespyinthestalls.com