“The original songs are superb, both lyrically and musically, and the dancing is very entertaining”
Based on the book by Claire Freedman and Ben Cort and adapted for the stage and directed by Adam Bampton-Smith, Aliens Love Underpants is a tale of underwear, aliens and unlikely friendships. There is a crisis going on: everywhere across the world underpants are going missing. We know it isn’t dinosaurs and we know it isn’t Pant Pirates, so who could it be? Aliens, obviously.
The story focuses around Timmy (Matthew Chase), a young boy who is fascinated by space and has completely run out of pants. His mum (Natalie Simone) manages to get hold of a very special pair for him and it is these pants which set Timmy off on his intergalactic journey. We meet a number of other characters including an American reporter (Samuel Freeman), the eccentric owner of Pants R Us (Kate McKeown), Timmy’s beloved science teacher Mr Stevens (Adam Colbeck-Dunn), as well as some fantastic alien puppets. The cast is incredibly talented; they can sing, dance, act and are also excellent puppeteers.
The story is simple, sweet and silly, as you would expect, and you can tell that many of the children in the audience are already familiar with the book. There’s something for the grownups too, with a few adult references and wordplay thrown in there to keep the parents entertained.
The original songs are superb, both lyrically and musically, and the dancing is very entertaining. The music is definitely a hit with the kids as well as there are lots of little heads bobbing along.
The lighting and sound in general are great and really help to keep the kids engaged and following along with the story. I was impressed by how quiet and mesmerised they all were. The props, set and puppets, all designed by Isla Shaw, are whimsical, cartoonish and almost identical to the drawings in the book.
Overall, Aliens Love Underpants is a truly lovely show. It’s inventive, fun and pitch-perfect for children and parents alike, whether they’re fans of the book or not.
Reviewed for thespyinthestalls.com
Aliens Love Underpants
Underbelly Festival, Southbank until 30th September
“With slightly more clarity of vision, Peepshow could be a microscopically sharp piece of circus theatre”
C!RCA’s latest rippling creation is about looking and being seen, and it’s certainly hard to tear your eyes away. Blink, and you’ll miss a dazzling physical escapade, as the ensemble of seven weave, flex, swing and fly across and above Underbelly’s circus tent. The matter of this show is marvellous and the skill of the performers endlessly impressive. With slightly more clarity of vision, Peepshow could be a microscopically sharp piece of circus theatre.
The first half an hour or so of the show was a little frayed around the edges. This did not impact the quality of the individual numbers, but it made the overall result feel a little uneven. Transitions on and off stage and between the first four or five numbers were a little abrupt, and in danger of verging on mediocre physical theatre. These were not so clunky that they distracted from the content, but they detracted somewhat from the emotional impact. The first few pieces hinged on thematic developments of the peep show premise, but occasionally there seemed to be a clash of styles. Seductive choreographed moments, curtailed inexplicably by a coughing fit, were a slightly confused diversion. Often, this freakiness went down a treat, particularly when a cheeky strip-tease turned into shocking audience participation, playing on the idea of the audience as voyeur. But sometimes, Peepshow tried to do too many tones at once.
The direction of Yron Lifschitz, supported by Associate Libby McDonnell, was frequently beautiful, inventive and striking. The show’s dynamic final ensemble number, which totalled over a third of the entire duration, was a masterclass in shows of this genre. Well-paced, showcasing all the performers’ talents, accompanied by a gradually layered, pared back rhythmic track, this was Peepshow at its peak. The performers (who were not all listed in my programme, but I’ll mention everyone I can) were all equally strong, and supported one another seamlessly. Jessica Connell and Ela Bartilomo gave particularly expressive and daring performances, and the persistent commitment of all the ensemble is utterly admirable. Many of the stunts took my breath away.
For the most part, Jason Organ’s lighting design, supported by Richard Clarke, highlighted and intensified the physical variety of the production. Travelling spots and inventive backlighting were particularly thoughtful touches. Every so often, some elevated moments were rather erratically lit, and these would have perhaps benefited from more simple design. If the music incorporated drew more on themes of looking, this would have added another element to the concept. Often, the performers articulated sounds, but these were frequently too soft to be heard, and therefore did not always feel like a real choice.
When all the elements synchronised, Peepshow was a spectacular piece of art. Encompassing mime, aerial trapeze, sky-high lifts (I was awed by David Trappes’ strength) and phenomenal images, there was no complacency or false starts. You will be surprised and enthralled – Peepshow is worth the watch.
