Connection and communication have taken on new possibilities in today’s internet driven world. Anyone and anything can be accessed anytime at the click of a button, as long as there’s a stable connection to the internet.
Courtesy of Marc Brenner.
Confronting action, bold design and a defiant aggressiveness. An English Touring Theatre, Theatr Clwyd and Nuffield Southampton Theatres co-production supported by The Royal Theatrical Support Trust, A Streetcar Named Desire is given a modern revival, but I wonder whether its initial upbeat tone invites the appropriate spectatorship.
Toshiki Okada is one of the most important Asian directors. No Sex is his third work for the Kammerspiele, it premiered on 14th April 2018. A stage director and author, Okada founded the theatre group chelfitsch in 1997, which had their first international success with 5 Days in March, a play about two young people fleeing to a love hotel to have sex for five days. His latest play deals with a group of young men who think that sex no longer matters.
Courtesy of Julian Baumann.
Gerhard Polt is an award-winning Bavarian writer, filmmaker, actor, and one of the most highly regarded cabaret artists in Germany. His satire focuses on the Bavarian people, culture and politics with Polt usually playing the role of a feisty Bavarian petit-bourgeois. He enjoys using puns and his texts constantly switch between Bavarian and high German, also including a few English words often used by Germans who want to appear particularly trendy. In 1979, Gerhard Polt first staged Kehraus (Last Dance) in the Werkraum (studio) of the Münchner Kammerspiele, followed by his successful production München leuchtet (Munich Shines) in 1984. Following the musical revue “Fein sein beinander bleibn” by the Well Brothers – formerly Biermösl Blosn, Behold the Man (Ekzem Homo) is a political revue by and with Gerhard Polt and the Well Brothers that first premiered at the Kammerspiele in 2015 and is now celebrating its 70th performance.
Courtesy of Andrea Huber.
I was keen to see The Jungle Book after learning that it was created by The Children’s Touring Partnership, which seeks to create bold and imaginative theatre of the highest quality for children aged eight and above, throughout the UK. The Children’s Touring Partnership have recently produced The Boy in the Striped Pyjamas, which was fantastic and Running Wild, an adaptation of the novel of the same name by Michael Morpurgo, which I also thoroughly enjoyed.
Yablochkov Candle is an aerial exploration from Finnish performer Ilona Jäntti and an incredibly unique vocal performance from singer-songwriter Aino Venna. The live music complements the acrobatics perfectly, or should I say the acrobatics complement the music, for each art form is of equal importance throughout.
Ramps On The Moon speak volumes with their ability to make the powerful drama Our Country’s Good accessible to D/deaf and disabled theatre lovers whilst still maintaining the standard of a mainstream production. Fiona Buffini’s direction cleverly embellished the action with British Sign Language throughout, and the wonderfully diverse cast, including D/deaf and disabled actors, was extremely emotive in both their vocal and physical expressions.
The energised and captivating sign language is performed by either the speaking actor themselves or by another character in the scene (which takes a minute or two to grasp, yet the complexity certainly adds a creative dynamic). For an audience member who does not know the meaning of the gestures (like myself) it is not a hindrance, but instead a fascinating extension on the actors’ expression (and an impressive one at that).
This uplifting story, in which a play helps the officers and prisoners to release the chains of judgement and regain their sense of humanity, is not to be missed. The show holds a strong structure and does not include any unnecessary spectacles (no ground breaking over rehearsed cheesy-ness), instead the story is allowed to blossom organically and the text has the focus it deserves.
Although this production is impressively unique, it is not flawless. The opening is slow, with the movement of the chorus of prisoners being perhaps too improvised and slightly aimless. Transitions are of a simple nature and often bring the audience out of the world, however it would not be long til they are again drawn in by the following scene. Officer Ralph, eager to direct the cast of prisoners, is played by the slightly hammy Tim Pritchett. His love for the gentle prisoner Mary Brenham, played by Sapphire Joy with a perfectly shy demeanour, and her love for him is not well established, causing their affair to seem sudden and fake, whereas the relation between Mary and John Wiserhammer, who is brilliantly portrayed by Tom Dawz is beautifully honest and moving for the audience.
Filled with moments of suspense, comedy, heartbreak and hope Ramps on the Moon have brought us tears and laughter with this original production Our Country’s Good and prove, yet again, how inclusive theatre can and should be.
Review written by Lauren Maxwell.
Our Country’s Good is currently showing until Saturday 5th May 2018 at the Stratford East Theatre Royal. To find out more about the production, visit here…
On entering the Jerwood upstairs theatre one is first struck by Fly Davis‘ tongue in cheek set design: a tasteless boudour of pink satin, lace curtains and an intimate thrust staging in which the audience are also lit. The pre-show soundtrack of squelchy synth, hits a downmarket wine bar tone, the only thing missing is a bowl of car keys. It is dated, it is provincial, it is oh so British and it sets the tone perfectly.
Courtesy of Manuel Harlan.
Paul Birch’s technological thriller takes audiences on a journey through reality and the inner workings of the dominated virtual world we live in today. Audiences are made to feel under surveillance, as the stage space is littered with tall screens and futuristic style set pieces that entrap one within the robotically inspired storyline.
Courtesy of Shaun Conway Photography.
The story of settling into a new culture, having to assimilate and build up a life via independent means is a story that many immigrants share. Often travelling from their country of origin with little income and having experienced tough upbringings, whether that be due to political regimes, limited resources, social climates or for other various reasons, these factors only ever go on to strengthen an individual. In-Sook Chappell’s Mountains: The Dreams of Lily Kwok taps into this narrative of immigration, a dream play that marries the past with the present.
