“From the prologue to the epilogue the atmosphere is quite electric.”
Most of us live in the real universe most of the time. For over thirty years now, Quentin Tarantino has led us intermittently into the ‘realer than real’ universe. There are similarities, and connections to real-life sources but everything is “more”. Exaggerated, graphic, stylised, violent. The unreal becomes reality, and vice versa. Most of us have dipped – or dived – into (at varying depths) the Tarantino Cinematic Universe and emerged with the soundtrack still swimming around our heads. The films make us listen to the music in a different way. “Tarantino Live” takes the songs and brings them to life once more in a stunning, genre-defying, mash-up, immersive rock musical.
Woven into this bold, full-throated rock concert is the iconic Tarantino dialogue. It doesn’t matter in the slightest whether you’re a die-hard fan, or completely unfamiliar with the films; what unfolds before your eyes, and ears, will make you look at theatre in a different way. Most of the music stems from the era of vinyl but the structure of the show is built around the modern concept of the playlist. Split into chapters rather than scenes there is no chronological logic. The points of view, close ups, wide angles, jump cuts and crossfades are scattered around the studio like gunfire. The action takes place on the stage as well as around us and amongst us. It is relentless but we can’t get enough.
It’s full title, “Tarantino Live: Fox Force Five & The Tyranny of Evil Men”, loosely sums up the concept. The ‘Fox Force Five’ comprise a group of superwomen made up of five of Tarantino’s most iconic female characters as they take on the ‘Tyranny of Evil Men’ in a battle of revenge. The concept gets swept aside, however, by the sheer power and skill of the vocal performances. To single anyone out would be merely to reel off the entire cast list, just as to attempt to match the actors with the characters would be like trying to follow a chaotic medley of accelerated rolling credits. It is possible, but my word count advises against it. Needless to say, the talent on display is so much more than a triple threat. The lines between orchestra and cast, lead and ensemble, actor, singer, dancer, musician are blurred.
The disciplines are brought together seamlessly, the show having evolved over the last decade. ‘For The Record’, led by adapter and director Anderson Davis with associate director and choreographer Sumie Maeda, launched the show at The Bourbon Room, a small bar on Hollywood Boulevard in Los Angeles in 2010. Immediately a ‘must see’ cabaret show, it was awarded the seal of approval from Tarantino himself, and along the way has been adapted in response to each new addition to Tarantino’s canon of work.
From the prologue to the epilogue the atmosphere is quite electric. It is simultaneously like a roller coaster ride but also not. It’s not Hollywood, nor film, nor musical theatre, nor rock gig. Yet it is all of those. It throws in the air different scenes from different movies, but when they land there is a kind of beginning and middle and end. But even if it doesn’t make sense – from the prologue to the epilogue we are transfixed. Motionless while our heads spin. And we could go on the journey again and again. It is a must, whether you’re a Tarantino geek or if you’ve never seen a Tarantino film in your life. At least you’ll be familiar with the (thirty-plus) classic songs. But not in this context.
Unlike anything you’ll come across in London at the moment, “Tarantino Live” is, in a nutshell, theatre with attitude.
“a stand-out exemplar for other locally-rooted companies wishing to make drama that speaks compellingly to their audiences”
When Game of Thrones and other big budget spectaculars grab the headlines and audiences, how can 900 year old stories be brought to the stage in a way that will speak to modern audiences? This is the challenge with which Reading based company Rabble have been engaged since their founding in 2012.
This latest production is their biggest yet. Based on a show that premiered in 2016, it follows the life of King Henry I of England from the moment his father William the Conqueror died in 1087, to his own death 48 years later. This is raw and visceral theatre. The writing is not cod historical but vivid and gripping.
Eleventh century lives were short and men’s war-making was brutal. But this play is also feminist to its core, placing women at its heart, both in casting women actors in male roles and in depicting the pivotal roles women played in the story.
Rabble’s vision is also community-based and often site specific. Over 500 members of the local community were involved in bringing this epic to the stage. It sits in a sequence of linked history plays the company have developed. They appear amongst the professionals in the show and continue to be involved in workshops around the play which tours to Winchester and the Actor’s Church in London after its Reading run. In Reading it is performed in the ruins of the great abbey Henry I built to expiate his memory, and where he lies buried. There’s a further frisson. The final scene is performed on the very spot where the events depicted occurred.
Beth Flintoff’s Henry I uses a rich variety of story-telling techniques to bring a great swathe of history to dazzling life. Characters speak directly to their audience about their future. Climactic crowd scenes play out in slow motion with compelling lighting effects by designer Michael Brenkley. Many of the costumes by Sarah Jane Booth are a lush riot of satin and velvet and her spare set suits the full-on and physical drama to a tee.
Amongst an outstanding cast, Toby W Davies is excellent as Henry I. Whilst some other characters occasionally veer close to parody, he gives a compellingly real performance of vulnerability and struggle amongst all the rabble-rousing. Georgie Fellows is his queen and Mabel. Like the exceptional Amy Conachan (Adela Countess of Blois), she gives a blisteringly feisty performance of a woman at the heart of the action.
Greg Barnett is a wonderful embodiment of lip-smacking evil as Robert de Belleme. Mark Middleton is a peevishly inadequate brother to Henry and has some moments of fine comedy. Gabrielle Sheppard cuts a swaggering dash as William Rufus and William Atheling. Anjelica Serra gives an equally energetic and compelling performance in this high octane show that delighted the first night crowd. Joseph Black has huge stage presence as Bishop Roger and Conran.
Many other performers give wonderfully energetic and committed performances in this brilliant show which is a warmly recommended triumph for Rabble. It is also a stand-out exemplar for other locally-rooted companies wishing to make drama that speaks compellingly to their audiences. Congratulations to Director Hal Chambers for bringing this production to such electrifying life.
Reviewed on 15th June 2023
by David Woodward
Photography by Alex Brenner
Further dates:
12th – 15th July 2023 Winchester Great Hall, Winchester
20th – 22nd July 2023 St Paul’s Church, Covent Garden, London
