“Tatty Hennessy’s perception and imagination bring this production alive”
Love and music, freedom and flares! The gardens of London become the Forest of Arden in this brilliantly updated version of ‘As You Like It’. By setting the production in the late 60s, early 70s, director, Tatty Hennessy, transfers the essence of Shakespeare’s pastoral, romantic comedy to the hippie era with its optimistic ideas of free thinking, breaking rules and getting away from conformity. In addition, it underlines the strength of his women characters, complementing the positive female spirit of the play by changing the genders of Jaques and the Dukes and generating a mother-earth forest community, supportive and nurturing.
The excellent performances by the whole cast bring vibrancy and shade, several members having two or three roles to portray, creating texture and fluidity with an array of well-defined figures; Stanton Plummer-Cambridge and Lamin Touray excel in this multitasking.
Set against a background of growing feminism, the women are unapologetically feisty and demanding in their pursuit of life and love. The enamoured Rosalind, in a spirited performance by Katharine Moraz, takes control of her destiny, accompanied by Comfort Fabian’s Celia, whose genuine enthusiasm is astutely modernised in movement and speech. Phoebe (Emmy Stonelake) and Audrey ((Jodie Jacobs) are beautifully unabashed and determined in procuring their hearts’ desires, and Julia Righton steps assuredly between good and evil as both Duchesses. Sian Martin plays Jaques with a cynical sneer, perfectly counterbalancing the enjoyment and love for life which surrounds her. And up against all this feminine zeal, Orlando (Jack Brett) is the picture of bemused, love-struck youth. A special mention for Sydney K Smith’s ‘Motown’ Touchstone, who encapsulates the foolish image, moves and talk of those disco days (which some of us remember!), while wholly attuned to Shakespeare’s words.
The importance of music in ‘As You Like It’, being Shakespeare’s most musical play, naturally lends itself to the 70s ambiance of the early music festivals which blends into the parks and gardens milieu and draws the audience into a convivial atmosphere. The stylish singing which sets the scene and the diverse incidental songs and instrumental music (Richard Baker) show an added facet to these talented actors. Simple, colourful decor (Emily Stuart) immediately conveys a feeling of rustic celebration and the casting (Becky Paris) allows for a balanced variety of accents which add depth and clarity to the characters.
Tatty Hennessy’s perception and imagination bring this production alive with relevance to those years not so far gone and to today’s similar issues of inequality and oppression. The changes of era and gender have sense and purpose, showing the fortitude and quality of women and the need to escape authority, but also the timeless quest for love and happiness. ‘As You Like It’ is the perfect end to a sunny summer’s day…or any other day.
“Heretic Productions should be warmly congratulated for giving an opportunity to three relatively new women’s voices that may well otherwise have remained unheard”
Last year Heretic Productions announced a rare opportunity for writers from all backgrounds to see their work published and fully produced on the main stage at the Arcola Theatre in Dalston. The rules were specific in that the work must not have previously been performed professionally, have a running time of between 15 and 45 minutes, be a monologue and be performed in English.
A nationwide search opened in May 2017 which received over one thousand submissions. A shortlist of nine was then given to a panel and from these, three works were chosen to be produced. Those are now presented collectively as Heretic Voices and are Woman Caught Unaware by Annie Fox, Dean McBride by Sonya Hale and A Hundred Words for Snow by Tatty Hennessy.
This was my first visit to The Arcola Theatre which is housed in a converted paint factory and I was impressed with the design and feel of this vibrant venue. On entering the main theatre there is a basic set of a white square on the floor and each of the plays makes full advantage of the minimalist design. Seating is on three sides and the audience close to the action. The evening begins with all three actors entering before two depart to leave only seasoned actor Amanda Boxer on stage and we are about to experience Woman Caught Unaware.
This is about Mary, a sixty something professor that many graduates will identify with, who discovers there is a photograph of her that has gone online. It is the story of an older woman being photographed without her permission, her being naked in a changing room. The image is shared and she is mocked online. The monologue allows her to tell her side of the story without interruption during which we learn more about body shaming and the emotions that kind of humiliation brings.
It is a challenging role for an older woman which, in the main, Boxer takes in her stride. There are a couple of moments of slight hesitation in her delivery but given this was only the second performance it didn’t detract from the overall enjoyment of the performance. It is funny, moving and thought provoking.
Next on was Ted Reilly, many will know him as Johnny Carter from Eastenders, who plays Boy in Dean McBride. This is a story of a boy growing up on a Croydon council estate and sees part of his life from his 10 and 16 year old points of view. It is a vivid story of loss, deprivation, suffering and redemption through love. He struggles through life before finding his way back to happiness.
Reilly uses the stage floor well and has a strong physicality about his performance. Some of the language is both ‘strong’ and ‘street’ and the writing takes the audience on a journey to a place many would not want to go. Disappointingly Reilly had to refer to the printed script in the last few minutes and hopefully this will not be the case in future.
Following a short break it was the turn of Lauren Samuels who gave an outstanding performance in A Hundred Words for Snow. Brilliantly written and expertly acted it is a story of a teenage girl who runs away from home with her father’s ashes to visit the North Pole. It looks at the complexities, joys and difficulties of being a teenage girl. Samuels appears fresh from her run in Romantics Anonymous at The Globe, which finished on Saturday. She is a consummate professional and was quite incredible as Rory. The audience reaction at the end was a fitting tribute to her 5 star performance.
In conclusion each performance is well performed and directed with effective yet minimal set, lighting and sound support. Heretic Productions should be warmly congratulated for giving an opportunity to three relatively new women’s voices that may well otherwise have remained unheard.
