“undeniably great fun, supported by consistently strong performances”
The Intergalactic Starship Albatross, with Captain Tempest at its helm, is on a standard interplanetary scientific survey mission, when it is pulled onto a planet not even marked on their cosmic charts. Here they find Doctor Prospero and his daughter Miranda, and discover Prospero’s secret formula for telegenesis, a dangerous invention that aims to be able to create matter from brain power alone. So ensues a cult tale of love, trickery, deception and monsters.
The musical by Bob Carlton, which won the 1990 Olivier Award for Best New Musical, is a well crafted mixture of fifties and sixties pop anthems and Shakespearean text. The musical is loosely based on the 1950s film ‘Forbidden Planet’, which was based on Shakespeare’s ‘The Tempest’ but the piece borrows lines from across Shakespeare’s oeuvre: “Two beeps or not two beeps, that is the question” was a particular favourite with the audience. The word play is intelligent and witty, and we don’t lose a syllable of it thanks to the cast’s clear and lively delivery.
The actor-musician cast is consistently strong all round, deftly switching from vocals to saxophones and trumpets, led by musical director Rhiannon Hopkins. Simon Oskarsson’s fantastic robot on roller skates Ariel, is the standout performance of the production, a detailed and committed characterisation full of energy, playfulness and wit. The evil Gloria played by Ellie Ann Lowe is also particularly strong – slick, fierce and effortless, something which other members of the cast could learn from as there are a few too many moments where it is clear how hard this cast are working. Certainly playing instruments, singing, dancing and acting is no easy feat, but the cast need to make it look easy, something I’m sure they will achieve as they settle into the run. In fact there isn’t a weak link across the cast in terms of talent, though at times certain performances could be a little more streamlined, the brilliant energy levels just a little more focused.
A few things need ironing out – there’s the odd technical issue and clumsy musical moment but the audience is so onside that these moments are utterly forgivable. The production is brimming with wit and silliness, no desire to take itself too seriously, something which is echoed in the design – neon blue space suits and yellow and purple set designed by Amy Yardley.
This production is undeniably great fun, supported by consistently strong performances, and you will be sure to leave with a smile on your face.
” attempts to deal with some intriguing themes but unfortunately falls short”
Upstairs at the Gatehouse is one of London’s historic fringe theatre venues that exude a strong community spirit inside. The Gatehouse, within which the theatre is located, is steeped in local history and it seems only right that it should house a play focused upon the passage of time and memories such as Ian Grant’s After the Ball.
The story follows William (Stuart Fox) and Blanche (Julia Watson) spanning sixty years, starting in 1914 in the moments just before the outbreak of WW1 and ending in 1971. Its emphasis is upon the ways in which we take responsibility for our individual actions and, consequently, how this affects those around us.
The roles within After the Ball are purposely written for older actors by Grant who believes that not only does it offer the challenge of playing a variety of ages, but also provides substantial new material for ageing actors which is often lacking in modern theatre today. Therefore it is rather intriguing to see both actors constantly transition as the story moves backwards and forwards in time throughout. Aside from this characterisation, the costume design is the greatest indicator of which time period each scene is set in. As each character is introduced throughout the story, they bear the clothing of that particular time. However, this was not consistent towards the end of the play as their daughter, Joyce, appears in a variety of period costumes whereas the remainder of the cast do not.
Whilst the plot revolves around William and Blanche’s relationship over time, it seems the story is much more focused on William’s journey and often asks for the audience to sympathise with his emotional turbulence. William is presented as a four-dimensional character as we learn to understand the reasoning behind his mistakes throughout life. Unfortunately this was not the case for the characterisation of Blanche that at times felt superficial.
Memory is the headlining theme of After the Ball and this is most evident in the creative set (Natalie Pryce) and sound design (Chris Drohan). The soundscapes often blended into one another, as did the minimal set which frequently reminds one of searching into their memories, and the ways in which we can manipulate our memories over time.
After the Ball attempts to deal with some intriguing themes but unfortunately falls short through its execution on stage. Whilst the idea of centring the play around two older actors playing a variety of ages is refreshing, it was sometimes unclear as to which specific point in the timeline the scene was taking place. Additionally the story pays too much attention to the male struggles during wartime, and places less upon those of the female characters.
