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.
Carefully crafted to meet reality, Arinzé Kene’s play centres around the simple, graceful dreams of a young black teen growing up in a London neighbourhood during the early noughties. With hopes and dreams revolving around finally receiving a much desired bike and a big heart full of unapologetic kindness, nothing can go wrong, right? “Pay them no mind and goodness will come your way…”– “You hear them whisper…Eventually the bigger man wins”…
Courtesy of Wasi Daniju.
But what happens when even strong spirits wear out due to injustices and goodness makes sense no more? Here comes the turn then; a simple, yet strong change of events that leaves you almost teary, there’s a sense of bitterness of growing up different in a multi-cultural community. But this is not a sad story indeed, it’s a play of humour and tragedy tracking the ups and downs of people’s lifetime experience retold through the wide open eyes of a teenager too mature for his age. Simplistic décor and wooden walls (Amelia Jane Hankin) are symbolic of the obstacles “boy” finds himself climbing up on a daily basis, leaving his bullies and fears behind. And it’s not just a personal narrative, it’s a picture of a lively neighbourhood with parents’ hopes for their children to “turnout better”, wives dreaming of their husbands seeing them with the same loving eyes as they used to, owners praying for their shop clients to be nicer tomorrow and everyone waiting for happiness to start growing within.
Kwaku Mills’ monologue leaves audiences with familiar messages of hope whilst walking through a storm and spirit so graceful that even the most frightening of events can’t crush. It’s simply a catharsis that comes his way to wipe out the childish-like ephemeral goodness that doesn’t disappear but just flows into a different shape. One thing is for sure, this story touches the depths of your existence, no matter if you’ve ever been in this boy’s shoes or you’ve just realised watching how bittersweet happiness turns out to be. 4/5
Review written by Yoana Cholteeva.
good dog was shown at the Northern Stage Theatre on Saturday 9th February 2019. The production is currently on tour and will play at the Stephen Joseph Theatre on Tuesday 12th and Wednesday 13th February. To find out more about the production and tour, visit here…
‘Close your eyes,’ says our host in a blustery subway of Waterloo Vaults. ‘Show of hands: whose side of the story do you want to hear first?’ So begins this 30-minute, interactive and site-specific play from Anonymous is a Woman, a theatre company devoted to celebrating female stories. And Greyscale’s story is simple, but familiar.
Born in Jerusalem in 1976, Yael Ronen is one of the most intriguing directors of her generation. Hakaoh Berlin, developed at Schauspielhaus Graz, was awarded the Austrian Nestroy Theatre Prize in 2013. Common Ground, a meditation on the aftermath of the war in former Yugoslavia, was invited to the renowned Theatertreffen Festival at Berlin and won the audience award at Mülheimer Theatertage in 2015. Her production The Situation at Gorki Theatre was invited to the Theatertreffen in 2016.
Courtesy of David Baltzer.
The Inca Empire’s political and military power, Cuzco – Peru was considered to have one of the world’s most developed political structures. However, between the 13th and 16th century, the empire would go on to witness an invasion by Spanish explorers, who would ultimately end up conquering the empire in 1572. Centuries on, Cuzco is now named as a World Heritage Site by UNESCO due to its significant legacy and is visited by millions annually.
Courtesy of Holly Lucas.
I sit in the audience for The Full Monty at The Marlowe Theatre, amongst an expectant crowd. I don’t really know what to expect – although I’ve seen the film, I wonder how this would translate to the stage (and whether it would work).
