In the now infamous words of Brenda from Bristol ‘not another one!’ was exactly my reaction when hearing the season announcement that Tartuffe would be making its way to the Lyttelton stage at the National Theatre. But, you can never have too many plays by dead white guys, so off I went to Molière’s comedy classic that flirts fact with fiction and pokes fun at the bourgeoisie.
It can so often feel that those that have gone before us wouldn’t have at all understood what perhaps we’re going through now, and vice versa. It can so often feel that historical greats, are in fact so great, that the normal day to day wouldn’t have phased them at all. However, what history books tend to leave out is the fact that these were normal people, just like us, who just so happened to change the face of our history. Cue Helena Westerman and Caroline Simonsen’s ‘Galvanise’; a show connecting the lives of three modern day teens and influential female historical figures. Ahead of this year’s Vault Festival, both Helena and Caroline talk about working together, integrating animation and following their debut hit show ‘An Act of Kindness’.
“We are part of the last generation to remember life before widespread internet access” – expresses Dean Elliott, co-founder of theatre collective New Public; a sentiment ringing true for many of us. There’s no doubt that we now live in an age of media excess; news now accessible by the click of a button, whether that be on a smartphone, laptop, TV, tablet… the list goes on. A swift generational shift, we’ll soon forget those days where we depended solely on print and TV to find out the latest global goings on, a time where we could escape the media at our own choosing. Dean talks to us about the ‘relentless media machine’ as New Public prepare to perform their topical show ‘White Noise’ at this year’s Vault Festival!
Jesus Hopped the ‘A’ Train delivers a compelling portrayal of faith, religion and morality. Kate Hewitt’s adaptation of Stephen Adly Guirgis’s dark comedy strikes a brilliant tonal balance of humour and emotional weight. It follows the literal and internal trials of Angel Cruz (Ukweli Roach) and the characters that he meets during his incarceration awaiting trial. The humour lands well, natural and unforced, often the room erupts in laughter; yet Hewitt’s adaptation truly shines in its more intimate moments. The characters engage in profound questioning of a higher power whilst battling their own inner turmoil, fighting demons conjured by their past actions and whether faith can relieve them of their own culpability.
Courtesy of Johan Persson.
As a part of the Arcola Theatre’s Creative Disruption the Arcola Women’s Company presents Women of Troy, a reimaging of Euripides’s text told from a female perspective. A cast of sixteen women form the ensemble for this production. In turns they recount Troy’s fall, detailing the trauma surrounding the events that took place. The graphic descriptions are echoed in their bloodied clothes and dishevelled appearances. This, combined with a bare stage, conveys the cold atmosphere of the piece.
If I were to tell you that a show that’s largely about 9/11 is feel-good theatre at its best, I’d forgive you for not believing me. But that’s exactly what Come From Away is. Having had a successful run in Seattle, Toronto and Broadway, the musical by Irene Sankoff and David Hein has transferred across the Atlantic and opened in the Phoenix Theatre on Charing Cross Road and is bringing us the joy we all need right now.
Grease is well and truly the word in this Yorklight interpretation of the funky classic we all know and love, although does fall a little short of the soaring bar set by the original film. Filled with glittering set pieces, colourful attire and hair that is so gelled into place it looks as if the cast has to use olive oil to keep it at bay, creates the perfect staples for this jiving 50s musical.
A bold new technological step for theatre, connecting four countries, four theatres, under one brave idea. It isn’t often that one can say that they are watching theatre tread new ground, but this can be unequivocally said for Babylon Beyond Borders. The abstract production is performed and live streamed across the globe from London to São Paulo, Johannesburg to New York, each performing their individually devised contribution. This is all under the concept of the tower of Babel, the division of humanity, split by the linguistic barrier of multiple languages.
Mischief Theatre is a company that’s been hopping from strength to strength for going on eleven years, so it’s no surprise if I reveal from the off (spoilers) that A Comedy About a Bank Robbery is another magnificent feat of clowning. Slick, silly and densely packed with gags, the Mischief trio (Henry Lewis, Joanthan Sayer, Henry Shields) have really outdone themselves here.
Courtesy of A Comedy About A Bank Robbery.
A chain-smoking, tracksuit-bottomed cast, a few bits of rubbish here and there, and searing dialogue: this play shows that this is all you need to conjure up a powerful depiction of the drudgery of life lived below the poverty line in a rough corner of Northern Manchester.
