I didn’t know what to expect from Brasil Brasileiro before I saw it. The posters weren’t exactly informative but promised me that I would ‘want to book a one-way ticket to Rio’ so I was unsure as after to what the two and half hour show would encompass. Fortunately, I was pleasantly surprised. The show had no linear narrative but loosely explored the history of Brazilian dance through musical interludes, vocal performances and dance numbers.
Shelagh Delaney’s A Taste of Honey is arguably the mother of all kitchen sink dramas. The 1958 hit was followed by productions on the West End and in New York, as well as a film adaptation, and all within three years of the 19 year old writing the then taboo play. The fact that director Mark Baybach wanted to focus on the real Northern voices at play, rather than the shock value, was a wise choice. Special recognition should also go to set designer Hayley Grindle: the wonderfully sparse bedsit, alongside the imposing industrial metal structures and junk-strewn alleyways, really reflected upon the northern dives present in the 50s and 60s. These are the areas of 50s Britain that are so often overlooked, and this production seeks them out in the interrogative glare of the stage lights.
We appear to live in an era where the concept of feminism is shrouded in an historic haze, a movement associated with the fearless protests of inspirational women fighting for equality. However, what does it mean to be a feminist in 2014? As females, are we automatically categorised as feminists? These are questions that continue to dominate discussions and debates. Shutters, a triptych of plays directed by Jack Thorpe Baker examines the roles of women within American History within the last century. Ahead of press night, I was able to speak to cast member Yolanda Kettle about the relevance of the show, working with Jack Thorpe Baker and her varied acting career.
You’ll be starring in Shutters, a performance consisting of three American plays placing a focus on the journey of women within the last century. Could you describe what each play is about
A one-woman show must involve a highly interesting protagonist with enough self reflection to keep your attention. Emma Packer’s portrayal of the Brixton born-and-bred Amy Jones certainly achieved this, combining her personal story of struggle with the political elements of the world surrounding her. Amy Jones touched on many relevant issues, both personal and political. We witnessed her thirst for knowledge as a young girl speaking to her posters of Nelson Mandela and Gandhi. Things darkened as Amy struggled with her abusive mother and poor upbringing. Amy Jones is not a relatable character to all, but Packer had the audience oozing with empathy despite this. Her ability to switch moods without losing any of her vibrant energy was highly engaging.
Transferring from the National Theatre to the New London Theatre, The Elephantom is the stage adaptation of Ross Collins’ children’s book about a blue ghost Elephant that arrives into a little girl’s uneventful daily life. As I waited for the play to start I already felt at home: the cozy environment created on stage by Samyel Wyer’s design, the welcoming music and the children’s happiness all around me made my excitement grow.
Hilarious, ‘high class’ entertainment is had by all in these wonderful adaptations of Noël Coward‘s classic shorts. The English Touring Company have split 9 shorts into three shows; Cocktails, Dinner and Dancing which are performed across three performances. I was only able to see the first of these trios; Cocktails, but would’ve loved to have seen all the shows performed!
In a bid to reunite the horn-rimmed revellers of Shoreditch with their Shakespearean ancestry, the Malachite Theatre Company are staging for Shoreditch each of the ‘Shoreditch nineteen’: the nineteen plays that the Bard wrote during his years as a Shoreditch reveller himself, many of which were first performed at the Theatre and the Curtain, just around the corner from St. Leonard’s. There seems an appealing sense of homecoming in this idea, a return to the roots of Shakespearean theatre as theatre for the community, rather than for the tourists and far-travelling theatre lovers that crowd the riverfront outside the Globe.
Fireside Tales with Granddad is a fantastic production for children of all ages, with its relatable concept and humorous audience interactions. This is the perfect play for all families to enjoy together – especially if you have particularly loud children!
Gregory Doran’s clearly got big plans for the Henriad. 2013’s Richard II charted a descent from majesty. Although Henry IV Part One opens with the solemn procession of the King’s men fresh from the crusades, it is clear throughout that Doran wishes to portray the struggle from the pits of Eastcheap to an earned, rather than stolen, monarchy. The imagery of an usurped Richard is invoked constantly, including a very literal ghost watching Henry’s coronation within the first sequence on stage.
