Brimstone and Treacle

Blindly scraping nails on the lid.

It would be easy to say that this play is not for the fainthearted - but that would be easy, not fair.

I'll admit that I had only the highest expectations for the second play directed by Alex Needham but, to unfortunately sound cliché, I was not disappointed in the slightest.

The set was cluttered yet clean and wonderfully thoughtful; the set even continued past the doors to offstage which was just great attention to detail.

Where to start with the performances and subject matter. This play explored a fear that I believe rests, in some form or another, within every human. That fear that when you try to scream for help, no one will hear you, that fear of being capable of thought but trapped inside a limiting body. That frustration is portrayed so incredibly realistically by Patty throughout - she never breaks character, not even for a second.

The parents, Amy and Tom, are convincing as a married couple. It is quite amazing how they can sometimes carry on as if Patty is not in the room and how they can suck the audience in so that the audience, too, forget that she is there. It is quite worrying, the effect that this had.

To say too much about Martin’s character would ruin the storyline somewhat but I will say this, his monologues were spine-chilling, juxtaposed with his eloquent yet eerie niceties and aside glances. He is certainly one to watch.

There were recurring themes of the soullessness of animals, denial, the loss of hope and prayer, of good and evil and racism and a wish for things to be as they once were. Although the situation is not one many of the audience will be directly familiar with, the themes can certainly resonate. There is a disturbing mix of pleasantries and good coffee contrasting with the moaning of a soul in pain and the desperation of loss.

It is quite poignant when you think about the senses and how the loss of one can heighten the others, even more so when you can see that having all senses intact can almost make you more senseless. The play also touches on a real sense of evil and how it can infiltrate a family and play on their fears, faith and hope.

This is a play to be seen by anyone who wants a thought provoking evening that will stick with you for some time to come. This play will certainly not leave your troubled mind in a hurry, which is exactly the effect I believe it is intended to have. It begs the question, exactly what would you endure just to enable things to be as they were before?

Brimstone and Treacle is on at the Kelvin Studio in Bristol from 23rd to 27th March 2010

(Photograph by Owen Benson)

Lucifer is a Woman!

A review of Abducting Diane at The Rondo Theatre, Bath on Wednesday 24 February 2010.

How on earth can I review a play that I cannot compare with anything I have ever seen? A challenge I am sure, but one that I will face nevertheless.

Having never seen a Dario Fo play I was perhaps unprepared for the mayhem that would ensue on stage, but I certainly think that the element of surprise is one of the best features of this production.

The abundance of props seemed like it would be a minefield for the cast but they skilfully navigated their way around the ropes, ice cream and fire extinguishers to great effect. There was bondage in abundance and madness en mass as Diane (played by Mirella Luciani) was kidnapped by three crooks, (played by Tony Blair, Gordon Brown and John Prescott).

This political satire has been carefully adapted to resonate with current affairs and the masks of the kidnappers were simply perfect. I thought it was wonderful that you could also see the actors faces behind the masks when they turned to the side and the mask of Gordon Brown looked so glum that it could have been cut out of this week newspapers.

To say too much about what happens in this play would ruin it for anyone who goes to see it. So I will say only this – you must go, you must enjoy and you must appreciate the wonder of a little old lady with milk bottle glasses on her nose, slippers on her feet and a rifle in her hand.

Abducting Diane is on at the Rondo Theatre from Wednesday 24th February 2010 to Saturday 27th February 2010, starting at 7.30pm

Get on that First Train Home

A review of Imogen Heap’s concert at Bristol 02 Arena on Thursday 11th February 2010

Incredible. Just incredible.

Anyone who has heard the haunting melody of Hide and Seek would be first in the queue to see Imogen Heap live and boy is it worth it.

The support acts were Back Ted n-Ted and Tim Exile, both solo artist who, like Imogen, use loop stations, computer effects and beat boxing to create their music. I could never forget the first time I saw this as a way of creating music, it was a performance by Dub FX who, to me, is the king of the loop station and most others are mere imitations. However, these support acts did put their own spin on the method and created some thoroughly enjoyable music.

The best part of the support acts, however, was the fact that they were both introduced by Imogen herself and performed with her. This was just one of the many signs of her down-to-earth attitude which made her charmingly approachable and likeable. This also added a much more personal element which I feel has been lacking from many concerts that I have attended.

The whole concert was entertaining and more upbeat than I had expected, especially with my new favourite tune Bad Body Double but the highlight of the concert for me was the encore. It started with Hide and Seek which went wrong due to a reverb malfunction. Imogen was unfazed, ready to move onto the next song and then easily got the problem fixed and gave the most divine performance of the song and I defy anyone who can listen to that with a dry eye.

She then took audience participation to a new level. She split the audience into three, each singing the words ‘Just for now’ creating the backing track for her to sing above. I have never been to a gig where the audience have song so well in tune and the atmosphere from Hide and Seek to the end of Just for Now was just electrifying. This was a shiver through the spine moment if ever I had one,

I would have liked to hear Glittering Clouds which is one of my favourite Imogen Heap songs. I also think that knowing the songs inside out would make the whole experience even more enjoyable. But for a surface fan of her music, I found the concert refreshing, moving and completely emotional.

Imogen Heap is playing at Gateshead and Bournemouth on the 15th and 17th February respectively. All other UK concerts have sold out.

Her latest album, Ellipse is out now and available on Spotify.

PRIVATE LIVES GOES PUBLIC

Of course we know that any Noël Coward play must be delivered with a certain degree of elegance and class, but when you know that New York’s Kim Cattrall is starring, you expect at least a degree or two more. Theatre Royal Bath’s production has certainly met these high expectations.

The opening set was delightfully and quintessentially French with its wall of shutters and beautiful balcony. The white curtains enabled each character to show a little bit of themselves, with Victor (Simon Paisley Day) being instantly frustrated when unable to smoothly move through them as opposed to Elyot (Matthew MacFadyen) who of course could whip the curtains away with ease. The first act presented a couple of opening night mishaps which were charmingly overcome by Elyot and Sybill (Lisa Dillon). This opening act set the scene for the characters that we were to follow both simply and effectively. This was not so much a play about wondering what was to happen next as the storyline, no doubt copied numerous times since, is fairly obvious, but more about the tickling jokes, perfectly designed set and charismatic characters that we experience along the way.

Kim Cattrall played Amanda, a feisty and alluring character who oozes sophistication, at least up to the third act. Forgivably Kim Cattrall faltered on the English accent, but not often and only, it seemed, on the lines that she seemed to enjoy saying the most. It was almost as if she dropped back to her own accent on purpose, to highlight those lines that resounded with her own personality so well. When you hear her say the word “morals”, you will know what I mean.

She also moved like a model, striking poses at each point as she worked her way around the set. She made shapes that showed off the best features of the costumes she wore, and were this to have been an advert, we most certainly would have all hit the shops to find those outfits.

Matthew MacFadyen played a strong Elyot, he was sharp and convincing and the chemistry between him and Cattrall was just perfect.

Acts two and three were set in a Parisian apartment with an enchanting decor and use of lights and props. The relationship between Elyot and Amanda really shone through and the timelessness of the writing was apparent. Even a strong woman like Amanda had her insecurities, and these, as with all couples, caused their little riffs and ravels. Elyot was typically male with his dismissal of her at times which drew the whole audience into the laughter as they matched the happenings on stage with those of their own.

Sybil and Victor provided a delectable sub-plot, their individual characters providing a neat contrast to the realism of Amanda and Elyot. Sybil was hysterical and jealous, showing those more hidden yet perhaps more frequent characteristics of females and Victor was even less forgiving of the women than Elyot.

The whole play illuminated how a relationship can be a success. Its relevance to today’s society is quite incredible, given that it was written in 1929. It teaches tolerance and love through passion and jealousy, but above all it shows that with the right chemistry, you can truly be yourself with your partner. It shows that love, time and a mix of maturity and a lack of it, can allow a couple to overcome their personality clashes.

Private Lives is on at the Theatre Royal Bath from 10^th – 20^th February 2010 and will then move to the West End.