Tobias Graham Archives - Page 3 of 6

★★★★

“Millerick has created something powerful, inviting us to experience a combination of emotions we rarely feel together”

Garrett Millerick jokes about his brand of ‘nitpicking misery’, and his new show Sunflower, one of the most critically acclaimed hits from Edinburgh Festival last year, certainly lives up to his reputation. From S Club 7 to the patriarchy, Millerick effortlessly manages to weave humour through both light and darkness as he explores the true importance of laughter.

From the start of his show, walking through the aisle of the Soho Theatre downstairs and announcing himself to the stage, Millerick commands our attention. His high energy approach to comedy is captivating, heightened by his quick paced delivery and passion for the stories he tells. Initially set to be a happy and fun show – named after his favourite Beach Boys album – Millerick centres his stories around a grounded cynicism that sets to explore whether context can dictate the limits of comedy. Through his charm and authenticity, Millerick draws us in, humanising his stand-up routine in an unexpected way that is guaranteed to take you through a spectrum of emotions.

And that is the beauty of this show: it isn’t your standard stand-up comedy. Jokes about Paul Cattermole (‘one of the boys from S Club’) selling his Brit award, and Chesney Hawkes losing the rights to his song ‘The One and Only’, land to roars of laughter, twisting the comedy knife into these otherwise quite tragic accounts. But the show is unique and fresh in its approach because part way through the writing of it, Millerick’s life changed dramatically. The performance, therefore, takes a surprising turn, taking us out of the comfort of comedy into something much more complex, whilst never losing its heart. Without wanting to give anything away, all I will say is that Millerick has created something powerful, inviting us to experience a combination of emotions we rarely feel together; that feeling of wanting to – and, indeed, needing to – laugh through heartbreak.

The performance excels because the comedian wears his heart on his sleeve, compelling his audience to listen to every word he says. And in doing so Millerick delivers a refreshingly dynamic performance that deserves its acclaim, and deserves to be seen.

Reviewed by Tobias Graham

Photography by Matthew Hall

Plastic Soul

The Yard Theatre

Reviewed – 30th January 2019

★★★★

“its experimental nature has the possibility of alienating some whilst captivating others”

Through music, dance and documentary, Seke Chimutengwende’s performance of Plastic Soul invites us to watch the evolution of Plastic, a mythical performer, who’s identity and image are perpetually changing.

Various performances by Chimutengwende, from singing to dance, reflect Plastic’s rise and fall, a narrative that is made clearer by the documentary interviews that are projected on the back wall of the stage space. In these sometimes comedic interviews, various guests discuss Plastic’s journey from soul to plastic soul, stripping away and interrogating the artist’s identity until it is unsure what’s left behind. The piece doesn’t try to give us answers – it’s experimental and it leaves interpretation up to us, the audience.

The very opening number left me initially unsure of the show – the singing wasn’t fantastic and the concept hadn’t yet made sense to me. However, as the performance progressed, it became clear that it was creating drama and indeed some comedy in a unique way, in a way that forced its audience to resist temptations to think too hard in the moment. Instead, Chimutengwende’s movements on stage, evolving from rigid to fluid, funny to emotive, invited us to be swept along in the story before us, a story that didn’t feel like it relied on clarity but rather on an exploration of an idea. How much of ourselves do we lose in search of authenticity, soul, and indeed, our identity?

The use of sound guided the piece along, from the noise of insects creating a disconcerting atmosphere as Plastic metamorphosed, to the flowing melodies that accompanied Chimutengwende around the space. The costumes were perfectly designed and put together, creating a real variation that heightened the excitement of the piece, keeping it fresh and intriguing whilst adding some sparkle to the otherwise bare stage. Furthermore, the performer was able to adjust their body to suit the varying styles of music and sound, and at times this was mesmerising to watch.

Whilst I found this show enjoyable, I believe it could leave audiences split; its experimental nature has the possibility of alienating some whilst captivating others. Chimutengwende puts fantastic energy into this performance, and though at times the show lost momentum, it certainly left me thinking. One of the documentary interviewees notes something along the lines of, “I’m not sure I fully understand it, but I’m inspired.” I’d second that.

Soho Theatre

Reviewed – 12th February 2019

★★★★

“Millerick has created something powerful, inviting us to experience a combination of emotions we rarely feel together”

The performance excels because the comedian wears his heart on his sleeve, compelling his audience to listen to every word he says. And in doing so Millerick delivers a refreshingly dynamic performance that deserves its acclaim, and deserves to be seen.

Reviewed by Tobias Graham

Photography by Matthew Hall

Garrett Millerick: Sunflower

Soho Theatre until 16th February

Last ten shows reviewed at this venue:

The Yard Theatre

Reviewed – 30th January 2019

★★★★

“its experimental nature has the possibility of alienating some whilst captivating others”

Through music, dance and documentary, Seke Chimutengwende’s performance of Plastic Soul invites us to watch the evolution of Plastic, a mythical performer, who’s identity and image are perpetually changing.

Reviewed by Tobias Graham

Photography by Maurizio Martorana

Plastic Soul

The Yard Theatre until 2nd February as part of Now 19 Festival

Last ten shows reviewed at this venue:

JOIN US