The Seagull by Anton Chekhov - Manitoba Theatre Centre Warehouse

I could not have been more pleased to catch the opening night performance of The Seagull as my kick-off to this year's Master Playwright festival. Under the clever direction of Krista Jackson, the cast spark and bubble through the story, finding the beautiful notes of humour mixing among the boredom and melancholy that permeates these characters' lives. What I found most notable was the relevance Jackson was easily able to draw out of the text compared to contemporary life; these characters are rendered helpless by their ideal selves, constantly performing the version of themselves they want to be, despite the harsh reality that their lives are not what they make them out to be. Glimmers of recognition rippled through the audience as we recognized this very trait among contemporary society obsessed with material goods, outward appearance, and social media, while never truly connecting. 

The cast are well matched; Sharon Bajer is a comic-tragic gem as she plays the melodramatic actress Irina, while Bethany Jillard's Nina is frighteningly naieve. Tom Keenan's Kostya is strong, although I felt some moments could have used refinement and a more simple touch. 

I would be remiss not to discuss the design, which craftily created differing spaces that were simultaneously lush and minimalist; the outdoor garden scene was particularly notable for its clever use of lighting. And the sound design, with a rock-polka feel definitely contributed positively to reminding us that these characters, although aristocratic, are not the "ideal" humans of tragedy, but the flawed and simple beings who populate the comedy of every day life. 

Such Creatures by Judith Thompson - Incompletely Strangled

Judith Thompson's writing is hallmarked by its unwavering focus on difficult subject matter, and Such Creatures is no different. The piece consists of two monologues; an octagenarian holocaust survivor re-visiting the locale of her internment and re-living memories of her own revolt against the oppressor, contrasted with a teenage girl inner-city Toronto fighting her way through a single substance abusing parent, high school, and rivals. Each monologue unfolds, initially in longer sections back and forth, however as the stories and the plight of each woman unfolds, the overlap grows closer, calling the similiarity of their fear to mind.

This production, the first from new company Incompletely Strangled, and directed by veteran Arne McPherson does a fair job of introducing the two women to us; initially they are miles apart, yet as their stories grow, the space between their experience shrinks. Doreen Brownstone shines as the older woman, beautifully crafting her story and pulling the audience through each moment with a magnetism that is outstanding to watch. Although some pieces of the text were referenced from a script cleverly hidden in her stack of books, this did not impact her performance whatsoever, her clarity of intent pressing forward. The younger character was played with spunk by Gislina Patterson; we were taken along her journey of fear hidden behind a tough exterior. While she hits some of the tough notes beautifully, her performance at times could have benefited from a bit of simplicity which would have given the overall performance more shape. A difficult role for any young performer, Patterson certainly shows a gem of talent I look forward to seeing develop.

The production as a whole, however, felt stunted by design. The stage was split into two halves, divided harshly not only by light, but also a 6 foot chain link fence. The older woman's side remained static and clean, while the younger's side was littered as a playground, and also had projections on the back wall. For me, the division of the set meant that not only were the transitions back and forth a bit slow rather than a ping pong match between the two women's stories I would have liked to see, but also the overall feeling Thompson crafts - that these experiences are encroaching on one another, and at their core of fear aren't at all unlike one another - was lost. I would have liked to see both women inhabit the same space somehow. Additionally, while some of the projections were compelling, others were quite heavy handed in their imagery.

All of this aside, I did enjoy the piece, and look forward to what Incompletely Strangled bring forward next!

Q Dance presented by Royal Winnipeg Ballet at Gas Station Arts Centre

I sometimes wonder whether audiences truly realize the extreme caliber of creativity in this city. Peter Quanz' young company - Q Dance - is celebrating its first season to be presented by the RWB as part of the regular subscription. The performances this week included two of Quanz' well known pieces - Quantz by Quanz created for the Banff Arts Centre, and the ingenious Double Bounce, along with the World Premiere of his new story ballet, Murder Afoot.

Quantz by Quanz is a beautiful piece with quickly changing shapes. The challenging choreography is clearly influenced by George Balanchine in its many extensions and juxtaposed angles. The strength of the dancers shines in this piece, with Sofia Lee and Liang Xing dancing the lead roles, and a very strong ensemble supporting them. In this piece, an earlier one of Quanz, we see primarily a classical vocabulary, but the beginnings of the bending, asymetrical shapes which characterize his later work.

The second piece, danced by an enigmatic Beth Lamont with Stephan Possin, is centred around a playful idea - what if the tutu's edge were maleable, to be re-shaped every time the dancers come in contact? Lamont sparkes, and breezes through the choreography which showcases more of the Quanz obsession with unusual shapes. Possin however struggled with the challenging work - one can see quickly that the piece was choreographed on the dynamic and nearly superhuman Yosuke Mino.

The final piece, Murder Afoot, really allows Quanz sense of humour to sparkle, while using the most provocative movement vocabulary of the three pieces. Essentially created for 7 soloists, with only minimal ensemble dancing, the piece incorporated fantastic lighting and video design by Hugh Conacher, including a live feed from other parts of the theatre. Truly pushing its way into dance theatre, Quanz and Conacher's collective vision is unlike any other narrative ballet you've seen. Its sense of the theatrical was undeniable. I would have liked to see even more interplay - the moments where the video seemed to comment on the stage action had a fantastic Brechtian quality, and the piece would have been even more outstanding with this.

Overall this was a fantastic programme which not only showcased the incredible dancers, but the emerging genius that is Peter Quanz.

Best Brothers by Daniel McIvor - Prairie Theatre Exchange

Daniel McIvor brings us a very Canadian story with this tale of two brothers whose mother has died under curious circumstances (crushed by a large drag queen falling off a pride day float) and now the pair must deal with their loss together. The two could not be less alike, with the elder a straight laced hard working type-A architect, married with an ostentatiously expensive flat in Toronto (an entire scene plays out on the subject of his $250,000 kitchen. honestly...). The younger is a gregarious real estate agent, dressed regularly in purple through the show, and the reason for his mother's presence at the pride parade. The third "brother" is their mother's beloved dog - who truly had the mother's love, unlike her less furry sons. 

The piece was snappily directed by Bob Metcalfe with a keen attention to the darkly humourous subject matter, and well performed by the two performers. I would have liked to see more detailed physical work go into the scenes where the sons donned a hat and gloves and "took on" their mother's persona for a series of monologues. While these had potential to be sparkling, they came across as caricatures of the mother, which for me lost some of the impact. 

My overriding feeling, however, was that the play itself appeals to that part of us that wants to live that "ideal" life - the part that wants to write the perfect obituary for the slightly eccentric widowed mother, and whinge over such things as a $250,000 kitchen. But to be fair, I don't think that part of many of us even exists. 

We've struggled for years to create a truly Canadian theatre with our own voice separated from that of the British and American theatres, and I worry that this sort of piece sets us back. 

The Handmaid's Tale - Royal Winnipeg Ballet

The Royal Winnipeg Ballet company have developed a reputation for exciting contemporary story ballets in recent years, so it was truly exciting to learn that the company had paired with NYC choreographer Lila York to interpret Margaret Atwood's dystopian novel The Handmaid's Tale. From its very start, the piece set a highly theatrical tone, beginning with the stage opened in plain view, and  a stark set which simultaneously evoked the prison in Chicago and the brothel in Miss Saigon. Many steps were taken to give a feeling of being watched, including follow spots situated on the stage, and the very opening sequence in which Offred is stolen away from her family as they sat in the lower part of the stalls.

York's choreography clearly evoked the many complicated relationships, from the rigid and painful movements of the handmaids, to the sweeping jumps of the resistance, to the most uneasy feeling of voyeurism we felt as we watched Offred, the Colonel and his Wife dance a sickening pas de trois in which his wife used Offred as an extension of her own body. There are countless images from throughout the piece which called up similar feelings.

The company looked good throughout, although much of the corps work could have been cleaner. In particular, Yayoi Ban was fantastic as the headmistress of the handmaids, and Elisabeth Lamont's feature as the pregnant handmaid was stunning. Amanda Green had a spunky charm as Offred, but was out shone by the fabulous Sophia Lee dancing opposite her.

I look forward to this piece becoming a part of the company's regular repetoire.

The Crackwalker by Judith Thompson - Sweet and Salty Collective

This new Winnipeg theatre company burst out of the gates with their premiere production of Judith Thompson's The Crackwalker. Helmed by Debbie Patterson, the cast led the audience through an up close and personal interaction with people normally at an arm's distance from polite middle class company. Thompson's play, which focuses on a mentally challenged prostitute and her boyfriend, along with her abused friend and her abusive boyfriend lays out in plain view that which many of us wish to pretend does not occur; people of base needs making poor choices, all of which get infinitely more complex when a baby is introduced into the mix. Stylistically, the production took many risks which paid off; situated in the basement of a legion in what is generally considered a seedy neighbourhood, the first encounter with the characters is actually outside at a bus stop where the first scene takes place. The audience are then led in and downstairs, giving the feeling that they have truly stepped outside their own world and down into the underbelly. From there, in casual seating, the action takes place around the room, and many bar scenes make the audience feel that they are right there in the middle of things. This immersive quality was highly effective in initially creating a sense of comaraderie, then shocking us as the play transpires into judgement of the characters' actions, immediately followed by a realization of the prejudices which feed those thoughts.

The ensemble, led by Spenser Payne in the leading role, were superb.

If you missed this, you may have missed the best thing to step out on a stage (or orangey brown cacrpet) in Winnipeg this year.

Maple Route by Jeremy Scarth Bowkett - Theatre Incarnate @ PTE Colin Jackson Studio

Theatre Incarnate are known for edgy, sometimes quirky, and often controversial productions, so it may seem strange that the company have worked with local playwright Jeremy Scarth Bowkett to develop a 3 act epic about a moment in Canadian History. The company's departure is our gain, as we get the opportunity to see a shocking and truthful glimpse of the life soldiers lead when they return to civillian live. Under the measured and specific direction of Christopher Sobczak, the play and performers catapult through this challenging time. Things appear normal at first as we see Cam and Alexa in what are clearly the early stages of their re-united marriage, however we quickly see that Cam is a boiling pot with the lid rattling, waiting to burst. Just like that pot, Cam bubbles and eventually explodes, his confusion and rage at what he experienced in the former Yugoslavia rendering him unrecognizable to his wife. With a text this filled with angst, there is the potential for over-doing it, however every moment of Karl Thordarson's portrayal of Cam is truthful. Toby Hughes as Cam's reservist buddy Dean offers a believable lovable hoser, bringing much needed release of tension with his comic timing, and Theresa Thompson's Alexa is a believable troubled but loving army wife.

3 acts may seem long, but the production does not feel that way; rather it feels as if we in the audience are sitting on a runaway railway car, careening toward a mountainside as the play progresses.

This notwithstanding, the script could continue to be developed; some scenes felt they could be trimmed just slightly to achieve an even more explosive effect. Additionally the voice of Alexa wasn't quite as clearly developed as the other two characters, which under less steady direction could be clunky.

That said, this is a production that you need to see. An important story, well told, and pieced together artfully by a fantastic company. Go see this play!

Flood Contro by Marilyn Anne Campbelll - FemFest 2013

FemFest prides itself on presenting new work by Canadian Female artists each year, and Marilyn Anne Campbell is definitely a playwright I am grateful to FemFest for bringing our attention to.

This is a smart and funny script, with lovely dark undertones, which focuses on Gina and Ray, two adults who meet on a bridge with the common intention of killing themselves. As the play unfolds, we identify with the hilarious neuroses of each of these characters, whether it is Ray's fear of turning 40 without having kissed a girl, or Gina's obsession with the location of coasters and ensuring things are completed. Hope McIntyre's direction brings a lovely ebb and flow to the text, matching the many pieces of river imagery, meandering smoothly in and out of the conversations with a strong sense of truth. And the performances by Elena Anciro and Grant Burr bring an enjoyable life to the story.

My only quibble is that I would like more! Coming in at 37 minutes, I only just started to feel I got to know them, and the wrap up in the final minutes felt quite quick.

http://sarasvati.ca/fem-fest-showsflood-control/ 

Vacant Circumstances: this and something else - Dong Kyoon Nam @ Aceartinc

Dong Kyoon Nam's solo show at the Ace Art gallery is a collection of 5 installations, each of which uses common household items in a provocative way, calling attention to our reliance on objects and the frightening control they can have on our lives.

The most striking pieces for me were Event Horizon and Just Once.

Event Horizon consists of clock timers and fluorescent light fixtures mounted on a long wall, and a short bit of the perpindicular wall adjacent to it. The lights glow down on the wall, reminiscent of hip nightclub lighting, but as you approach the installation, the incessant ticking of the clock timers grows louder and louder, to a point where it is overwhelming. It immediately called awareness to our obsession with time; i caught my thoughts wandering in that direction, and had to remind myself i wasn't in a hurry. What is even more interesting is that upon hearing the ticking, even walking to other parts of the gallery where I had previously stood unaware of the sound, the sound resonated (whether actually or just in my head I couldn't say).

Just Once is created of two tall fans, clicked on and facing toward one another, wrapped in white extension cords. I could not help but think of the fans as two lovers, facing one another, trapped in embrace. The human quality of these two fans pushing at one another non-stop triggered thoughts of the constant barrage of sound and intensity we often throw at our loved ones, without pause to listen and take them in.

This is an excellent show, and it is free - so I highly recommend you check it out!

www.aceart.org

Appropriation, or Why Miley Cyrus' Performance Isn't Simply a Feminist Issue

"Appropriation in art is the use of pre-existing objects or images with little or no transformation applied to them." (Wikipedia). 

Is this not what we witnessed; teddy bear onesie, dancing african american women, silly putty bikini, foam finger. Cyrus' body itself, and Thicke's body as well. Cyrus, her choreographers and image-makers absconded these images, and used them. No transformation actually occurred, despite claims from many camps that this was to take Cyrus from little girl to woman, much as oversexed images such as Britney Spears with the snake, or Christina Aguilera in a boxing ring orgy took them from pop princess to mature artist. But let us ponder a moment over the chosen imagery. Teddy bears could not be any less mature; the choice of this image only reinforces her youth and the impropriety of Cyrus' sexual behaviour, rather than solidifying it as a statement of her new found maturity and control over her sexuality. Thicke is just as culpable here; his choice to participate in this charade, to allow Cyrus to gyrate up against him whilst whining his misogynist lyrics at the young girls in the crowd is deplorable.

Priviledged white girl takes on images associated with black culture. Priviledged white boy takes on images associated with black culture. The misogyny is only a part of the picture. They even went so far as to carry oversized cardboard cut-outs of paintings around the stage. Appropriation. Taking the object, the image, without transformation. 

In a way, the misogyny is appropriation too. Not that it is a good thing, mind you, but it is certainly a hallmark of stereotypical hip hop culture, "bitches and hoes" and "bling" gangsta mentality. What we saw was a 21st century minstrel show. Both performers put on their blackface in the form of words, gestures and costumes, and attempted to "fit in" - they took on these images, performed them. 

But this begs the question of WHY. Traditionally minstrel shows in late 19th century Americana were Irish-American performers who were trying to fit in, doing so by highlighting their dissimilarity to the OTHER, in that case, the african american. Eventually, the Irish American worker, once the much scorned member of Northeastern society, actually became the symbol of the American dream, stretching as far forward as the inherent symbolism in the Die Hard trilogy, pitting working class Bruce Willis against European Alan Rickman. 

So what then does this imagery purport to achieve? If it is to follow the same trajectory, it suggests that in some time the definition of the American dream will be entitled children parading around in a highly sexualized fashion, making all those around them objects for use. Entitlement. Achievement through family connections and money, rather than talent and work. 

We can be concerned about the sexuality, the misogyny, the racism. But the larger message underlying is that success doesn't come from what you do, but who you know and where you were born, and even worse....what you can pay to get what you want. Now this is truly something to be concerned about. 

Impel Theatre present The First Time at MEME 2013 (Winnipeg)

I've been crafting this experiment for some time now, aiming to air some questions for myself, and for people experiencing dance music and theatre . . .
What happens when we take two independent experiences - a piece of theatre, and a music performance - and let them lose at the same time? How are you impacted as an observer? What do you notice? How does this in tandem experience change your understanding of each individual piece in a way that you may not have viewed them when separate?

The First Time is an audio installation designed to be experienced in tandem with a live DJ set performed by John Norman - Friday will be the premiere of this experience, beginning at 7:30pm.

If you're around and interested, the audio file can be downloaded for free at memetic.ca/thefirsttime - simply download the file, select a meeting place, and turn up at 7:30pm. There will be a girl in a purple dress who will lead you to the Cube, where John will be playing.

If Friday evening doesn't work, that's ok too - the installation can be experienced at any time during the festival - and will create a different experience for you! Just begin at a meeting point, and slowly walk yourself toward the cube stage.

If you do participate, please share your thoughts here, by tweeting me @impeltheatre or using hashtag #memeFirstTime and #meme2013

Huge gratitude to the MEME festival for allowing this experiment to see the light, and to my volunteer devisers and performers on the project!






Created by artistic director Kendra Jones (www.impeltheatre.blogspot.com)

The First Time will take you on a journey immersed in the festival’s main stage atmosphere which will amplify your aural
experience of the event and your surroundings. In a festival dedicated to live
performances of recorded sounds, come enjoy two forms of recorded sound at once,
and share in a further amplified experience of these two art forms in tandem with one
another. Downloadable for you to experience at any point through the festival, the piece
is best experienced corresponding with a DJ set by Winnipeg’s techno-maven, John
Norman (Hype Muzik, UNT! Records).

Download link:

http://soundcloud.com/khemlab_johnnorman/kendra-jones-john-norman-music/s-QejNs

Instructions:

Step 1

Download the audio file to your phone, mp3 player, or some other portable audio
device

Step 2

Make your way to one of the meeting points shown here for 7:30pm on Friday
August 16th:
Meeting Point 1 – In the small triangle park across from the Burton Cummings
(Walker) Theatre – 364 Smith Street

View Larger Map
Meeting Point 2 – In front of MTC John Hirsch (Mainstage) Theatre – 174 Market Avenue

View Larger Map

Step 3

Wait for the girl. She will be wearing a purple dress.

Step 4

Put your headphones in. Press play at 7:30pm. This is best experienced on your
own, so resist the temptation to take them out at any point, or to chat with others. Let
the experience envelop you.

Step 5

Listen.

Step 6

Follow the girl. She will lead you to the Cube stage to enjoy the festival.

Step 7

Notice. Keep listening.

Step 8

The full experience is about 40 minutes long, and will then leave you the remainder
of John Norman’s set to enjoy the site and music. And don’t forget to stick around for
more great acts through the evening!

Questions? Email kendra@impelartists.com or tweet @impeltheatre – and don’t
forget to share your thoughts using hashtag #memeFirstTime and #meme2013

100 Masters @ WAG (until September)

I was simultaneously overjoyed, and disappointed with this exhibition. On one hand, it was very exciting to see the pieces, curated from galleries across North America, showcasing major and influential Canadian artists alongside the world's masters. The innovation of someone like Emily Carr  stood out like a beacon, and the piece by Wanda Koop was oustanding, pulling focus in the room.

At the same time, and perhaps only because I have been lucky enough to see the famous works by many of the international painters, I was left feeling disappointed in the selection for those artists. I actually said aloud "why would they choose that Gainsborough", and although the Monet was lovely, it paled in comparison to some of his more infamous work. Granted the VanGogh was every bit the energy-filled frenetic canvas that his work is, and the Matisse was outstanding.

In a way it almost felt as if the less exciting works were selected to help the Canadian artists stand out more. Disappointing, because the Carr, Koop, and Thompson would have shone regardless.

I suppose that my overall assessment is that if you haven't been lucky enough to visit the world's major galleries, then this will be a fantastic exhibition, providing an excellent opportunity to see many masters and learn more about Canadian artists in the context of the world scene. If you have, then you may not find it as engaging.

Til Death: Six Wives of Henry VIII - Monster Theatre @ Winnipeg Fringe

Tara Travis is outstanding in this one-woman show written by Ryan Gladstone, embodying 6 wives of Henry VIII along with the king himself with unwavering detail and clarity. The script cleverly posits an afterlife in which all six wivevs and eventually Henry are held together in a purgatory, in which St Peter will allow only one wife in to Royal Heaven - purportedly better than "regular" Heaven. As the women jostle for position, their stories and perspective toward Henry (and their own life's potential) is seen, creating a larger picture sense of the opportunity for women of that time. 

There was still something a bit lacking from the script; it centres heavily on beauty and sex, the ability to make the king happy, which seems to detract from its supposed feminist message. 

Notwithstanding, it is well worth seeing. 

Dog Act - Nancan Productions @ MTC Mainstage Venue #1

Local company Nancan Productions brings us this clever script from American writer Liz Duffy Adams with a stellar cast of Winnipeg performers. Situated in a future-past time where tribes war and cities are destroyed, yet vaudevillians roam performing their old standards. The world of the play is truly imaginative, and the cast bring it to life briliantly. Notable is the tribe thugs' near-iambic pentameter, peppered with expletives.

Yet despite excellent performances and a great script, I found my mind wandering; the piece could have done with some tightening, and more nuances in the shape of the action pertaining to pace in particular. As well, there were occasions when the rich language was lost to rushing, as if the actors themselves were aware of this.

These things aside, it remains a strong production and one I recommend seeing.

Mixtape - Theatre 3 @ Winnipeg Fringe Venue #9

Mixtape is a series of  stories told through clown and physical work, ranging from silly stories of watering a plan, to clownish circus acts. R.G. Chesterson is captivating with his highly detailed and specific physical work; his smallest movement evoking emotion from the audience. He plays on the audience through clever participation activity, and truly engages. Some highly enjoyable de-familiarization of objects occurs, including dancing robot heads for some clever puppetry.

Unfortunately his partner is not as deft a physical performer, and lacks the polish that Chesterson offers. The result is that her solo scenes drag somewhat, and diffuse the energy of the performance.

Overall this is an enjoyable piece. Personally, I would love to see Chesterson either working on his own, or perhaps with a different partner.

Taking Things Apart

I had the unique opportunity yesterday to be in the audience for a filming of the Royal Winnipeg Ballet's acclaimed Moulin Rouge, choreographed by Jordan Morris. The project will be  broadcast to cineplex theatres around the world, and is a really monumental occasion for the nearly 75 year old company, home to many brilliant dancers.

What was really exciting for me was the process; having trained in dance myself, I am most engaged with the work of the dancer, and the effort made to make it appear effortless. Due to filming, the ballet was shot out of sequence (as it is easier to situate cameras and costumes for filming this way) which had an unusual effect. What it brought out was a reminder of the work that goes into performing a ballet of this magnitude. Occasionally while waiting for technical setup, the dancers would wait on stage, stretching or reviewing their choreography - things that always happen, but typically are hidden from the audience to maintain the illusion of perfection. As well, the movement of sets and testing of lights throughout was unintentionally performative, and highly engaging.

It was just as much an experience of dance performance as it was an experience of the structure and production of dance performance - something ballet of all modern art forms has the tendency to hide. The result was the most Brechtian dance performance you could imagine. Verfremmdungseffekt is generally the antithesis of classical ballet - whose very aim is to transport you along with the story - however in this instance the distancing, the objective observation of the behaviour, was truly possible. A moment when Zeigler pulls a pistol on the young lovers, then proceeds with a dance of seductive pas de deux with Natalie, gun still in hand, was haunting in a way it couldn't have been had we been caught up in her story. As well, the masochism of ballet rang loud and clear (perhaps ironically for a company which recently dismissed a student for appearance in a porn) with the fact that the goal of all female characters was valuation and redemption in the eyes of a male character.

I'm very excited to see the piece "Put together" as it were, in the intended order, as it will be a very different experience of the ballet.

Busy Theatrical Week Coming...

So, before I rant (in a separate post) about the de-valuation of art through commodification of it, I want to share a couple events in the coming week.

First, my project for the past few weeks has been to direct for the Manitoba Association of Playwrights Highschool Playwriting Competition (sponsored by Scirocco Drama). This annual event provides the opportunity for 5 young playwrights - often first time writers - to have their short plays developed with a dramaturg and director, and be presented on the stage at MTC Warehouse. This year I am directing a new play by Beatrice Tuano called Intoxicated. The piece delves into the impact of loss on a young life through the eyes of two characters - the boyfriend who dies in a car accident, and his girlfriend who is left behind. I've been blessed to work with three lovely actors - Eric Rae, Ruth Rietze, and Kaeleigh Ayre. 

Tickets info here: https://www.facebook.com/events/167647053399174/?ref=ts&fref=ts

Performances are Thursday and Friday evenings - and audiences get to vote for their favourite play!


Second...my dear friends over at Theatre Incarnate have been re-working a piece they shared in the Fringe 
Festival a couple years ago called Master Orloff and Madame Clodile's Freakshow Beautifique. Using buffon 
techniques, circus freaks, and live music, the original production was highly enjoyable, and I can't wait to see what the
re-work brings to light! 

Saturday and Sunday evening they'll be hosting workshop performances, followed by a Q&A session for further development
of the piece. Info here: https://www.facebook.com/events/484180224984318/?ref=ts&fref=ts

The Audience by Peter Morgan @ Geilgud Theatre (London)

Stars do their turn in the West End and Broadway all the time. Mainly, I am disinterested, however my ultimate respect for Dame Helen Mirren's craft drew me to queue for return tickets on a chilly Spring evening in London.

The play itself is a slow, pedestrian piece with little spark in the story. The production itself, for all its West End high-value budget lacks interest visually. The supporting cast are of varying quality (Though a few stand out).

Yet I was able to set every one of these mediocre aspects aside in the wake of the sheer brilliance of Helen Mirren's performance. On stage for nearly the entire length of this full length play, Mirren transforms before our very eyes (with the help of stagehands in costume) through various points in The Queen's life. Literally moving from an older Queen counseling John Major, to a young Queen in her first meeting with Churchill, and various points in between, Mirren's physical and vocal work are breathtaking. She is utterly transformed - almost shape shifting - between these, and yet with a consistently clear sense of who this woman is and what she truly wants in life. In short, Mirren is unbelievable.

Ultimately this is not a script which will stand the test of time, nor do I expect any actor - regardless of skill - to be able to step in and make this even moderately interesting.

Narrative by Anthony Neilsen @ Royal Court (London)

This concept had such potential. Aiming to follow in the footsteps of Beckett and Ionesco, Neilsen presents a script which departs from traditional concepts of narrative with a forward trajectory, instead giving us multiple scenes, none of which propose to have an end point. Unfortunately, in my estimation he falls short. The characters and scenes do not escape a forward trajectory; actions and consequences do still have cause and effect, and by the end there is a sense of completion (albeit shaky). The path to this point is frustratingly peppered with absurd concepts; people growing horns, communicating with the dead via skype, trying to take photos of their arseholes. 

Whereas there was potential for this to say something about our inability to connect, instead it showed frustratingly selfish people, most of whom I couldn't be bothered with. 

This isn't to say it didn't have high points; a few of the scenes were strongly written and performed. The lighting design was stunning. It is just the script itself; purporting to be about nothing, but telling us that so often that it did, in fact, gain meaning. 

My Perfect Mind @ Young Vic Theatre (London)

I happened to chance a return ticket on this sold out extended run, and was immensely grateful. The play's concept has the potential to become a monument to celebrity, focussed around Edward Petherbridge's real life experience of having a stroke whilst preparing to play Lear. This brilliant two hander, however, steers well clear of this. Instead, it offers a funny, touching look at the life of a performer and a life spent pretending to be someone else. Staged on a cleverly designed open space, in which we see all of the workings, objects morph to differing purpose, and the room takes on many locales with ease. The characters, too, move smoothly from one moment in time to another - this almost spastic understanding of time clearly reflecting the concepts of identity and memory being put forth in the script.

Brilliantly written. Brilliantly staged. Brilliantly performed.

There is a moment when Petherbridge stops the action and says "this isn't hte kind of Lear I wanted to be in". We are grateful that it was.