Reviews

A Christmas Carol – Review by Aaron Burley

An accountancy and appreciation of events of ‘A Christmas Carol: A Ghost Story’ as adapted by Mark Gatiss. Spoilers included.

As if it was meant to be, when the car that my family was driving down the motorway, heading towards Nottingham, there above our heads was the full moon. Shining brightly amongst the nocturnal sky, like a glowing blot of white paint amongst a sea of deep black tar, clouds shifting and circling, the wind whistled cold, the bats squeaked and the omens of the world cried out in horrific unison as we arrived before the glass doors of the Playhouse to see Mark Gatiss’ (Doctor Who, Dracula, Sherlock) equally terrifying adaptation of A Christmas Carol. I love the book with all my heart. I once wrote a ten-page analysis of the damn thing for my English GCSE, it was ill-received, but still, to this day, I think I was robbed. I won’t be proving it in this “review” however, well, maybe just a little, a Christmas treat. Let’s delve into it, into the darkest, the coldest of Christmases, the Christmas when Ebenezer Scrooge was visited by four spirits who insist he change his ways, for his own good, and the good of all mankind…

Marley was dead: to begin with.

And on that sinister introductory line, inspired numerous twisting tales of terror and fright, for
people tend to forget, that behind the festive cheer, messages of hope, happiness and invitations
to be kind and joyous to your fellow travellers to the grave, the story of A Christmas Carol, is a
ghostly one. It is a story of rattling chains, frostbitten cobbles and phantoms shaped like cruel
tax-collectors, whose jaws have gone slack and arrive with deadly premonitions concerning their
earthly partner’s demise.

Mark Gatiss has always been an inspiring one for me when it comes to his wickedly morbid
interests, all it requires to see that passion is to watch any of his Doctor Who episodes, and to
see it in a wider light, simply watch his version of Dracula – He has a way of bringing out the
comedy and the horror in almost any story and mixing them together beautifully, and with the
wondrous mind and magic of Charles Dickens at his side, he can perform terrific bouts of talent
on the stage! Besides, if one were to read A Christmas Carol, they would know the dark humour
found in the play, can also be found plain as day in the first few pages of the book – Marley was
dead: to begin with – right off the bat, Dickens is having fun, playing with his audience before
continuing to babble on about how dead he really was, and just how much of a cruel little creature
Scrooge, that infamous miser, really is, and how much he had been forgotten by the kindness that
would be very important later on.

Gatiss follows in these footsteps perfectly, introducing us, not just to Scrooge, performed by
Nicholas Farrell (The Crown, Chariots of Fire), but also to Marley who is performed by the clearly
multi-talented Gatiss. The introductory scene gives us a glimmer into how business is run at the
firm of Scrooge & Marley on Christmas Eve, with Bob Cratchitt played by Edward Harrison
(Doctor Who, Wreckers, Genius) being tortured by his two heartless bosses. The wicked jesting
follows through when Marley, halfway through a conversation with Scrooge, suddenly grips his
heart and dies. Scrooge, when noticing this, licks out the candlelight on his partner’s desk without
a care in the world. Then we are promptly introduced to the Narrator, played by Christopher
Godwin (The Dig, Emma) who, sitting in a chair surrounded by grim wooden filing cabinets and
leather-bound books, darkly mutters; “Marley was dead: to begin with.”

A Christmas Carol has been done to death, so much that almost everyone knows the story, it’s
never required anyone to pay much attention to anything made concerning it any more simply
because of how easy it is to tell, and yet like all good adaptations; Gatiss does something
different with the story, he perceives it not as a Christmas Story, but as a Ghost Story – the
horrors of the book are brought to life, the ghouls and grouches fly around the theatre space as if
they had truly broken up from the grass of their graves and breached into our land of safety. It is a
spooky spectacle, embracing the restrictions and freedom of the theatre to an advantage, mixing
the abstract with reality at any given choice, which lends perfectly to the oddness of the original
book, falling through time upon the sleeve of a Ghost, watching the shadows of the past move by,
while the hooded future points further onwards.

The spirits are all differently designed and hark true to the descriptions of the book. The Ghost of
Christmas Past, portrayed by the eerie Jo Eaten-Kent (The Watch, Don’t forget the Driver),
dressed in a shining white cloak, walking on their tippy-toes like an ethereal angel, taking
Scrooge back into his childhood with a mature indifference, you can tell that this Spirit is wise and
ancient, they seem stern but fair, like an elderly teacher looking down upon a child who simply
does not know any better, which scares the young (for he is young, compared to the spirit)
Ebenezer into submission, it breaks his cold exterior and he is forced to see the errors of his past.

The Ghost of Christmas Present, the jolly old elf that can become angry and deadly on a whim is
performed by the delightful Joe Shire (The Tempest), this ghost carries a special type of charity,
he brings Scrooge into what will soon become today’s Christmas morning, presenting Scrooge
with what he is missing from his dark and shadowy home, while he is taking hours counting all the
coins he refuses to spend, other people, his family and colleagues are taking minutes to spend
very little money, for they are too busy spending time instead with one another, laughing and
making merry. The Spirit, who is always laughing and singing, being happy and seemingly having
a wonderful time exploring the streets of festive London, grows more ill over time, for he does not
have a long time on this Earth, he passes Scrooge with a message that he should beware
mankind’s children; Ignorance and Want, to beware them, as they will bring only misery upon him,
Scrooge’s actions will kill those he dare not think about, but due to the Spirit’s teachings, he now
can’t NOT think about them, those images will haunt him for as long as he lives, although
depending on what Scrooge does next, will decide if that will be as long a time at all.

Our leading man, the infamous miser; Ebenezer Scrooge, is terrifically performed by Nicholas
Farrell, who covers all the extremes of the solitary oyster’s character – the book worm schoolboy,
full of festive cheer and joy, slowly getting colder and colder as the Victorian London shapes him
into a mirror opposite of his former self, retreating into a hunched over tax-collector, surrounding
himself with filing cabinets filled to the brim of dusty documents with the names of his victims
written in black ink, the ghost of his partner, Jacob Marley, ever-present within his life whether he
likes it or not. Gatiss and Farell portray Scrooge as an easily scared man who is subtly angry at
the world for being happier than he is right now, haunted not only by his late friend but by the
festivities of the season that remind him what he cannot have – when Scrooge finally learns his
ways when he is redeemed, it’s like years upon years of self-torture are lifted away, the chains
that have forged across his life shatter into icicles, he is free to be joyous once more, the
schoolboy emerges and his life can continue. Casting Farell was perfect, getting someone
age-appropriate really helped hammer in the point of the book, that no matter how old you are,
you are not lost, change can happen at any point along with the mortal coil, there is no excuse
not to show happiness and share it among the masses.

Edward Harrison is a distant echo of Scrooge, Bob Cratchitt is what Scrooge had many chances
to be along his life. Yes he is poor, but all the same, he is content with the life that he has been
dealt, yes he wishes for more, yes he searches for opportunities for better things, but never for
himself, only his family – he does not abandon Scrooge, for deep down, Cratchitt knows him more
than anyone else ever has, he is spooked by the changes that his boss experiences on
Christmas morning but he does not find it difficult to accept, taking him into his arms and
welcoming into his home, inviting him to become a second father to his sick young boy, Tiny Tim
portrayed by the absolutely spectacular Zak Ford-Williams.

Ford-Williams shows a unique side to Tim that I’ve never seen before, in most adaptations
(including the Muppet version, which is one of the best) the character is an innocent and weak
soul who can do no wrong. The version Ford-Williams and Gatiss have created is a cheeky little
chap with a lot of wits, a smart alec yet still retaining the innocence that makes Tiny Tim so easy
to empathise and feel sorry for without that being the only thing about him, this Tiny Tim is fun to
watch on stage which tugs even harder on the heartstrings when you see his gusto vanish, his
illness taking over, his sharp wit cut apart by coughs and splutters, not being able to carry himself
to the dinner table, hardly being able to push out those famous words that ring out throughout any
adaptation of A Christmas Carol.

Without speaking about the superb writing of the play as a whole, I can’t possibly talk enough
about Mark Gatiss and his interpretation of Jacob Marley, a character he has wanted to play for
quite a long time now but never got the chance – so he decided to take matters into his own
hands and I’m so glad he did. Jacob Marley has a much bigger role in this version of the story
than others, he takes the role of a ghost and does it properly, he haunts Scrooge and his
adventures throughout, taking shapes of various other characters before finally emerging out from
under the robes of the Ghost of Christmas Yet to Come, dropping the hood, and tormenting
Scrooge above his gravestone. The scene where Marley is introduced in his apparition form,
stepping out from the shadows, dragging chains across the floor behind him, is one of the first
truly horrifying moments of the play, the use of an ensemble, lifting Gatiss up, depicting the
eeriness of Jacob, his anger that Scrooge is refusing his help. You can see that Jacob has been
through hell in his time since he died, and now he wants nothing more than to make sure his
friend does not go through the same fate, he cares so much for Scrooge and yet hates what he
has become – he hates that he himself took part in the creation of what Ebenezer is today, and
perhaps the anger comes from a deep part of himself that he despises, he sees it in Scrooge and
it’s frustrating to him just how much his partner takes the life he has for granted. Beautiful stuff.

The role of the Narrator in most stories is to be an audience surrogate, to deliver exposition and
explanation to anyone in the theatre who might be paying more attention to a screen instead of
the stage, the half-asleep children at the back who aren’t really invested in and need to be kept
up to speed every five minutes. However Gatiss has done something interesting, and beautiful,
with this character we all assume to know down to the bone, when in actuality, is a person with so
much depth and personality. For when they recite the words of Dickens, the words of A Christmas
Carol, they are not reciting them to the audience, but to two small children are revealed at the
very end of the show – the Narrator chokes up as he nears the end of the story, his attention is
caught by a young woman calling his name.

“Timothy?” She says, tapping him on the shoulder with her hand, another gesturing towards a
large Christmas banquet, where all of our characters sit, Scrooge included, “It’s time.”
The reveal of the Narrator’s identity is such a unique aspect of this adaptation that adds so much
to the original text, of course, Tiny Tim would be reading us A Christmas Carol, it makes so much
sense! Mark Gatiss has found a way to tell a story that has been done to death, and yet this is
proof that it still has some surprises tucked away in its dark and dingy places.

All in all, A Christmas Carol: A Ghost Story is a wonderful addition to the many thousands of
others of Christmas Carol adaptations, however unlike the majority of those adaptations, Mark
Gatiss has created something unique and harrowing, it’s something different that explores
interesting interpretations of the original story and it’s characters. It has something to say about
the celebrations surrounding the holiday, and the cold winters that haunt them.

This is a story that teaches us all how to keep Christmas well, may that be truly said of us, and all
of us! And so, as Tiny Tim observed…

“God bless us, everyone!”

(All photos taken by the official Nottingham Playhouse Website: https://nottinghamplayhouse.co.uk/events/a-christmas-carol-a-ghost-story/)

Clerks HUDDEE – Review by Jae Harwood

On the 25^th of February, the drama department were treated to a student adaptation of the 90s comedy film, Clerks. Led by Joey Fitzpatrick, a group of students from the 1^st, 2^nd and 3^rd year collaborated on the highly entertaining and comedic piece. The comedic style of the film, written by Kevin Smith, was a cynical, dark, and rude adult humour orientated spectacle. Smith’s 1994 screenplay follows the lives of the characters Dante Hicks (George O’Flaherty) and Randal Graves (Scott Morrison), who run the convenience store and neighbouring video rental store.

The piece involves multiple acquaintances, be that customers (played by Aral Hudaoglu, Victoria Taylor, Olly Bloor, Jenny Smith and Sean Climie), substance dealers (played by James Aygun and Joey Fitzpatrick), or lovers, (played by Maisie Lloyd and Jemima Corbett). It was through the cast’s excellent control of text and understanding for the piece that gave the entire story such a solid and timeless quality which can be enjoyed again and again with it’s comedic capabilities. However, there was moments of lapse when the actors forgot lines or spoke over each other causing some parts of the script to be missed. Although these complications were mostly caused by the pressure of performance, they often went unnoticed with how well the actors accepted the changes and carried on, showing clearly their professional potential and skill even in a moment of increased pressure.

With regards to acting, Ms Lloyd demonstrated, very impressively, the annoyed partner who barely gave herself time to breathe in-between lines, conveying strongly the emotions of her role. The effective use of overlapping lines at times added to the realism of the piece, creating for a much more believable ‘human’ conversation. I found myself confused by the extensive movements onstage, which at times could be seen to detract attention from the main plot of a scene, which, for a naturalistic play was an unclear choice.

The props were simple but conveyed the premise of a shop, however, sometimes they became distracting. The incidents of falling props actually added to the comedy of the piece, particularly when Mr Morrison knocked over a bottle when he was supposed to be acting inconspicuous, adding an extra dimension of comedy to the piece.

The set was minimal having been covered in just plain black fabric. However, this can be seen as a positive point as it suited the location of where it was shown, The Old Boiler House, which in itself is a black box style theatre location. I found myself thoroughly intrigued over the audience configuration, the layout was one that I had not experienced before and was a breath of fresh air in terms of creativity. Being sat in an ‘L’ shape, with two rows one length and two the other was a clever and effective choice of set-up that allowed everyone the opportunity to a good view, which was a difficult feat with small and intimate space provided.

The production team made the whole play possible. Directed by Mr Fitzpatrick, production and stage managed by Ms Cerys Burke, sound opted by Mr Olly Bloor, lighting by Ms Leah Murphy, propped by Mr Macsen Harper, costumed by Ms Victoria Tayler, and set designed and constructed by Ms Emma Taylor and Mr Jae Harwood. The sound was a good addition, helping to capture the audience’s imagination of being involved in a shop atmosphere e.g. the chime when someone entered the shop door. The entire team made an amazing effort to put on the show and it ultimately paid off to a thoroughly enjoyable experience, for all that attended the one night only soiree.

10th March 2020

Photography Credit: XPhoria Photography

1984 HUDDEE – Review by James Nocton

George Orwell’s 1984 is a book often talked about when referencing the political climate of various nations, along with the assertion that some people, perhaps even us, live under an “Orwellian regime”, where everything we do is monitored and controlled. Having seen director Amber Samuels bring the hopelessness and isolation of Orwell’s novel to the stage to great success, I can say with certainty that I am very glad that is not the case.

When the audience entered, they were immediately drawn to CCTV footage of themselves being displayed on a screen and blinking eyes projected onto filing cabinets upstage, a directorial decision that perfectly established an atmosphere of being watched that continued throughout the performance. When the audience had finished watching themselves, they began to watch Winston, played by Ethan Lang, sleeping at a table. This, as it turned out, was the only moment of peace Winston, or the audience, would receive, as when the performance began with sirens blaring and Winston jolting awake, we began to follow his desperate attempts to hold onto his newfound love and fight the oppression of the mysterious Party.

Mr Lang’s performance was, in a word, incredible. From start to finish, he held such an intensity that it became truly hard to watch as he suffered at the hands of The Party. Mr Lang perfectly showed the paranoia and mania of Winston when we first met him, which turned into strength as his love for Jemima Corbett’s Julia and his dedication to rebellion grew. Mr Lang’s passion and energy kept the audience rooting for him throughout the play, and made his suffering and loss all the more difficult to watch.

Ms Corbett’s Julia was a wonderful parallel to Winston. As he began unsure and afraid, she was confident and dangerous, and as Winston’s strength grew, Julia’s diminished in perfect contrast. The chemistry between Ms Corbett and Mr Lang was electric, and gripped the audience immediately, creating a sense that she truly was the freedom Winston had always been desperate to find, which made their separation and betrayal that much more heart-breaking. As O’Brien, Jae Harwood maintained a terrifying presence every moment he was on stage. From his introduction, where he questions Winston via a booming sound system, to his merciless and prolonged torture of Winston at the play’s climax, he maintained absolute control, and held himself with a quiet confidence that clearly told the audience of his formidable power. Supported by a brilliant group of 1^st Year performers, the entire cast came together to make absolutely outstanding theatre.

The tech team did a fantastic job creating unease and paranoia with many effective elements on display, such as the sinister background music and red lighting that appeared whenever O’Brien spoke over the sound system, which helped sustain the fearful atmosphere. Ms Samuels’ directorial decisions greatly enriched the experience as well, such as having Mr Harwood speak from the top of the spiral staircase at the beginning of the torture scene, highlighting physically how O’Brien is above Winston in every way. The set design was simple, but very effective; with only a table, a few chairs, some filing cabinets, and some era-appropriate props like an old computer keyboard, and a worn shoulder bag, the bleak, sterile, almost lifeless world the characters endure was wonderfully realised.

One of the most effective scenes was absolutely the torture scene; from Mr Lang’s agonised screams and desperate cries to the audience for help, to Mr Harwood’s commanding monologues about order and control, the scene was in fact so powerful and affecting that it left one audience member unsure how much of it was real or fake, and on the verge of leaving the theatre. It was an absolute masterclass in tension and pathos, and I cannot praise it highly enough.

In conclusion, 1984 was a harrowing, haunting and heart-breaking production that left the entire audience shaken to the core. Every element of this piece combined beautifully to create something truly special; when an audience member very nearly leaves out of fear, you know you have struck a chord. The only complaint I could possibly make is that I’ll only get to see it once.

16th December 2019

Photography Credit: XPhoria Photography

Aristocrats…a triumph! – Review by Cerys Burke

The long-awaited collaborative adaptation of Nikolai Podogin’s Aristocrats was an outstanding culmination of the talent in our drama department. An excellent display of acting combined with an array of technical and scenic elements created a thoroughly enjoyable experience for all of the audience.

            Upon entry to the theatre, the audience were invited to view the museum, designed and built by Zoe Colven-Davies and Kira Curtis, that detailed a series of contextual moments specific to the history of the Soviet Union, in which Aristocrats is set. These moments included the Five-Year Plans, their role in the First World War, and extracts from prisoner diaries. The stage, designed by Krysia Milejski and built by Chloe Herrick with assistance from Ted King, was impressive in its entirety. Evidently complex, the various levels added dynamic to the visual of the stage as well as providing a variance of levels for the actors to use in their performance. Even as an audience member, I felt immersed in the piece due to the multitude of entrances and exits in the Round. The set was made environmental by the abundance of woodchip onstage, which I’m sure the stage management team thoroughly enjoyed clearing up…

            The attention to detail with regards to props was magnificent. Stage managers Zoe Walker and Macsen Harper were faced with the gigantic task of crafting an array of props, from mugs and newspapers to animals and paper people. Although the props were 2-dimensional, the cast’s interaction with the props remained to be authentic and added an interesting dynamic to the semi-biographical performance. Kudos must also go to Luke Dankoff, the Production Manager, and Ellie Leaver, the Deputy Stage Manager, for taking on such a challenging production.

Lucy Fielden and Joao Cordeiro’s costuming was impeccable. Not only were the costumes well-designed and made, reflecting the individual characters, but the attention to hair and makeup was outstanding. The colour palette of navy blue and burgundy matched the set beautifully, in the form of headscarves and ties.

            The lighting, sound, and digital projection elements of the show were fantastic. Both Abbie Pearson and Colette Colman designed intimate lighting for the museum and the performance space, made even more effective by Aaron James’ fantastic sound design – although some subtle sounds may not have been detected by all audiences, such as the scurrying of rats, this added to the immersive atmosphere.

            Play seemed to be a theme throughout the piece, as prior to the performance and during the interval the cast played with each other and with the audience, engaging in games such as ‘I Spy..’ and ‘Russian Scandal’. No doubt these games suited the nature of the piece, with most of the characters in the play being deceiving and swift thieves of each other’s possessions, including a fountain pen and an adorned cigarette case. Even at the outset of the piece, the cast were awarded their characters and their inevitable fates in an interesting teacher-student dynamic. This contrasted the tone set by Soraya Hussain at the start of Act 1, in which she set the audience’s perspective to that of a Soviet Gulag in the early-twentieth century.

            Without a doubt, Joey Fitzpatrick’s portrayal of Kostya was outstanding. He combined wit and charisma with a domineering sense of control onstage, adding layers to his complex characterisation. Adopting different personas throughout the piece like a true aristocrat, Kostya met his match in the form of Mitya, performed by Rachel Johnson, who also portrayed his brief love interest, Margarita. A pivotal moment in Fitzpatrick’s performance was towards the end of the first act, when Kostya threatens to commit suicide, demonstrating his vulnerability despite being viewed as the leader of the pack.

            Other stand-out performances included Sophie Ambrose’s portrayal of Sonya, a ruthless drug addict who refuses to work, and Scott Morrison’s performance as Sadovsky, an engineer who is granted freedom from imprisonment at the end of the play by Gromov, performed by Sean Climie. Climie, despite seeming to have the most status on paper, certainly had his authority challenged by the ensemble of actors. Ellie Duncan was a pleasure to watch in her portrayals of both Beret and Botkin.

            Interesting dynamics and relationships were exhibited onstage despite the characters possessing similar status as Soviet prisoners. Ninka and Lady Nurika, portrayed by Caitlin Clarke and Charlotte Pell respectively, had a caring relationship, whilst The Little Man, performed by Annabel Wilson, was often excluded and found comfort in the form of a pet rat. Without a doubt, Mae Pugsley-Birch’s portrayal of The Tattooed Girl oozed confidence and affirmation onstage. The actors were led by a directorial trio, comprising of Amy Skinner, Maisie Lloyd, and Sophie Clarkson.

            A particular highlight of the show was Peter Roger’s performance as Sadovsky’s mother. Roger’s grand statue no doubt added further comedy to his portrayal of the frail, elderly woman, who was left muddled by the aristocrats varying stories. Ironically, Mother took pleasure in assisting the prisoner’s with their labour, although being showered in woodchip generated a less enthusiastic reaction.

            The context of the play being that of a comedy set in a Soviet gulag was a challenge bravely undertook by not only the trio of directors, but the entire production team. Aristocrats succeeded in capturing the comedic aspects of Podogin’s writing, with the added homage paid to Soviet prisoners in the form of monologues taken from prisoner diaries. The harrowing monologues, performed by all actors, presented to the audience real-life experiences of imprisonment and capture, reminding everyone in the space of the terror endured by prisoners of war and conflict. This reminder is not only of the past, but also of the present and quite possibly, the future – Skinner’s adaptation of Aristocrats doesn’t allow us to forget the cruel inflictions administered by global superpowers on it’s innocent.

Photography credit – XPhoria Photography

8th December 2019

More: The Art of Revenge – Review by Amber Samuels

More: The Art of Revenge written by Jake Smith was an explosion of Shakespeare, deceit, and UV paint. The newly coined phrase, ‘rave-theatre’ could not have been more fitting, with the music of KaizzaB blasted through the whole show, you couldn’t help but have high energy.

Sami Hindmarsh’s directing style produced a gritty show that left audience members wanting more (excuse the pun), giving us elaborate murders and character depth that was clear to the audience. Every movement and scene was thought through, and no stone was left unturned. We were introduced to the world of More, including a paint-your-own UV mask station and a DJ all night. Other members of the crew to credit being Rebecca Sawdon and Lulu Frenett, as they ran the bar, whilst also being stage managers and making sure the rave never stopped. The whole team of Thursday’s Children had obviously put in everything they had to make the show amazing, and it paid off.

Finally, a credit to Ethan Lang, playing Benedict. His passion for the role was evident in his performance, as he conducted the audience and gave them such a complex character to understand. His commitment is obvious through the flawless performance he gave, and was even able to cover up a broke piece of set in character. His performance truly is a credit to Thursday’s Children, and was the heart of the show by far.

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Overall, More: The Art of Revenge was a fantastic display of modern Shakespeare and undeniable talent. The cast and crew of Thursday’s Children produced a phenomenal show, and I can’t wait to see what they do next. Rave-theatre is definitely a thing, and I love it. Well done to everyone involved in the production!

2nd December 2019

Heathers HUDDEE – Performance Review by Jemima Corbett

A highly anticipated production by Ellie Leaver was greatly received with a huge audience turnout, bringing in many from outside the drama department as well.

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On entry we saw a lovely, simplistic set made effective with blue colouring, Veronica’s signature colour, known well by any Heathers fan. Excellent costuming was exhibited in all of the characters, bringing to life the infamous outfits of the Heathers and Veronica herself. The acting was very strong throughout the show with consistent accents and strong vocals to match. In, ‘Candy Store’ the actresses performing as the Heathers – Tori Lowsley, Geri Willcock and Siobhan Ashton – had incredibly strong vocals really making the lyrics shine, the choreography used was incredibly slick and really captivated the audience receiving a lot of praise at the end of the song.

Martha, performed by Rachel Johnson, aside from her incredible vocals throughout ‘Kindergarten Boyfriend’, created a character the audience could sympathise with throughout the show. Even in ‘Seventeen Reprise’, some members of the audience were moved to tears. Ethan Lang and Alex Jordan, playing Kurt and Ram respectively, provided comic relief for the show despite being rather demanding for the situations they are in, in particular ‘You’re Welcome’ and their deaths in ‘Our Love Is God’ brought on throughout the song with lovely physicality that was very convincing for the characters with great energy throughout. This was followed by one of my highlights of the show in ‘My Dead Gay Son’, where the characters of Kurt and Ram’s fathers, performed by Aaron James and Leah Siddall, brought the audience to tears of laughter with their amazing comic timing coupled with the upbeat choreography.

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Last but by no means least, the star of the show, Amber Samuels. With her outstanding vocal range and energy, she really brought the show together and was the perfect embodiment of Veronica. Amber never had a lapse in energy or character and had a personal highlight in ‘Dead Girl Walking’ with an explosion of energy making the difficult lyrics look effortless! With her convincing lust for JD they created a spectacle for the audience. I truly couldn’t praise Amber highly enough and she was the perfect Veronica Sawyer. All in all, the Heathers was a brilliant and thoroughly enjoyable experience for the audience, everyone in the cast and crew should be very proud of themselves, my only complaint is that it wasn’t longer!!

18th November 2019

Photography credits go to Shannon Johnston (XPhoria Photography)

Oil and The Young King – Approaches to Theatre 1 Performance Review by Jae Harwood

The Drama department are celebrating the 50^th anniversary of the Gulbenkian theatre and the 150^th birthday of the man himself. The first performance of the double-bill was of Oil written and co-directed by Hull drama alumni, Josh Overton and Professor Pavel Drábek. It had the theme of “Environment, sustainability and responsibility to the world” which was not only this play’s theme, but the current objective for the whole Drama department. The second part of the double-bill was of The Young King or The Mistake  by Aphra Behn. She was the second most prolific playwright of the Restoration and first female author to be published in English.

Our second performance, The Young King,followed the stories of the Dacians and the Scythians, two rival clans, and the young Thersander, who was a neutral force through most of the play. The 35-minute piece was heavily inspired by the play ‘Life Is A Dream’ by the Spanish Golden-Age playwright, Pedro Calderon, published earlier in the same decade.

The first-year actors and the second-year tech crew had the timeframe of just ONE WEEK to put TWO shows together. This itself is a monumental task, that anyone in the industry would find challenging. To have created such amazing pieces, whilst only starting at the university just six weeks ago, is a highly commendable achievement!

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The management team and the cast alike, were able to create a stripped back, strikingly visual and effective performances. Oil’s set was cleverly simplistic with a warm lighting colour palette that created an intimate atmosphere for the audience by seating them in a thrust stage set-up. The Behn performance utilised more props and costume compared to the first show; this may be due to it being more of a period piece. One such use of props was small coloured sashes on various body parts, to show allegiance to either clan. Also, the backdrop mimicked the colours of the different clans; blue and red.

The directors of both performances created wonderful pieces that were enjoyable to watch, by providing special moments that were both intriguing and engaging. I found the ending of ‘Oil’ to be especially poignant; the characters broke the fourth wall and discussed the need to protect the environment and promote their business.  These included creating an outlet for performance, which turned out to be our own Gulbenkian Centre; it was a very self-aware and meta moment.

In summary, the night was a thoroughly enjoyable and truly thought-provoking affair. I was informed that it was always intended to be a low-budget production, but this did not hinder the effectiveness of the majesty that was the show. A jolly good time all round, very well done folks.

9th November 2019

Photography credits go to Shannon Johnston (XPhoria Photography)

An Inspector Calls – Hull New Theatre Performance Review by Amber Samuels

‘An Inspector Calls’ by J.B. Priestley is a classic that many of us study in school. I think I’m the only person in the UK who didn’t, so when I saw that Hull New Theatre was staging a production of it, I booked tickets as soon as I could. This new adaptation, directed by Stephan Daldry was not a disappointment, as it was a contemporary telling of a classic. The audience were captivated from beginning to end. The plot was conveyed in a way that was easily understandable and very enjoyable. I was on the edge of my seat, as they say in the theatre. By the time the Inspector was on stage, the tension was perfectly created, and everyone could not take their eyes off the stage.

All the actors did a fantastic job of conveying the complex characters of the Birling family, in particular Ryan Saunders and Chloe Orrock, playing Eric and Sheila. They perfectly portrayed the development of upper-class snobbery to the realisation of the world they were trapped in. Additionally, it goes without saying that Liam Brennan did an outstanding job of playing Inspector Goole. His stage presence and creation of tension was something to be applauded itself. As an audience member, you felt yourself on his side, even if you had no idea why he was there.

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The tech for this performance was honestly outstanding. From rain on stage, to an entire house, including cutlery and china plates, falling to an angle on stage, the set and gimmicks are what made the performance so unmissable. The warm lighting in the Birling house contrasting the cold, grey set of the ‘street’ created the divide between the Birling family and any other character. It enforced the entire message of the play, and allowed an amazing visual aid to support the actors’ performances. The complexity of the set meant the context could come alive in the plot. I cannot fault it.

Overall, ‘An Inspector Calls’ was absolutely fantastic, and is up there with one of the best pieces of theatre I have ever seen. Stand-out moments include, the Birling house, representing the Birling empire, falling and breaking on stage, and the intense argument scene between Mr. Birling ad Eric. The attention to detail also made the performance for me, like Sheila’s white dress getting ever so slightly dirtier the more she walked on the ‘street’, and not in the Birling House. This portrayal of the well-known play was fantastic, and I struggle to find fault with it. I applaud the entire cast and crew, especially Daldry, as his direction enabled the show to be such a great success.

3rd November 2019

To light the kettle or light the gas? That is the question. Cerys Burke and Jae Harwood review The Dumb Waiter HUDDEE

Opening the department’s season of HUDDEEs, Ethan Lang’s The Dumb Waiter was a tremendous success, with audience members leaving entertained and engaged. Produced by a small team within only eleven days, the efforts of the cast and crew alike should be commended for their sublime rendition of Harold Pinter’s classic dark comedy.

Prior to the audience taking their seats, Mr Lang’s directorial decision to have his actor’s parade through the foyer, undetected by many, presented itself as a golden nugget for the few that witnessed the implicit moment. Georgina Kivelehan and Sean Climie camouflaged themselves amongst excited audience members as they snuck into the theatre for their performances as Ben and Gus respectively. Although an understanding of the play prior to performance may have been integral for some, those who were familiar with Pinter were quick to engage with the comedic value of Ms Kivelehan and Mr Climie’s relationship onstage. Despite the piece presenting a dark ending, which questioned the values of loyalty and partnership, comic relief throughout the performance provided the audience with moments of euphoria. In particular, Mr Climie’s expressive proclamation of “SCAMPI” entertained the masses to such a degree that audience members were in tears, along with Ms Kivelehan’s depiction of his Glaswegian accent with the line “Put on the kettle.”

The contrast between the portrayals of Ben and Gus was extremely effective, playing to both of the actor’s strengths in a comedic context. Presented with the challenge of performing with a deadpan expression, Ms Kivelehan triumphed in her performance as the affirmative hit man, Ben, adding all the more to the comedy of Mr Lang’s direction. In comparison, Mr Climie, challenged with the responsibility of voicing ‘The Dumb Waiter’ played to the stereotype of the talkative yet naïve observer to a great extent, which balanced the proxemics between his and Ms Kivelehan’s characters incredibly well. Physical comedy was also evident, as Mr Climie had the unfortunate task of balancing numerous food items on a minuscule plate to present to the unknown character above.

As aforementioned, Mr Lang led an incredible example to other students in the department in his directorial debut, providing clear instruction and organising rehearsals for the production in a matter of less than two weeks. In turn, he was supported by an outstanding technical team, compromising of Chloe Herrick, Krysia Milesjki, Sam Sylvester, Ellie Leaver, Macsen Harper, and Abbie Pearson. With very few technical hitches, the performance ran moderately smoothly, which is impressive given that there was no capacity for a technical rehearsal prior to the show.

A pivotal moment of the piece was when Ms Kivelehan was left onstage by herself as Mr Climie disappeared to a room unseen, altering the dynamics of their relationship leaving Miss Kivelehan as the senior partner possessing sole responsibility of maintaining audience’s engagement in this prolonged moment of silence. An almost North vs South divide was presented in the piece, as the two characters heatedly debated over the utterance of lighting the kettle or lighting the gas. In turn, Mr Climie’s desperation for something as trivial as a cup of tea was something the majority of the audience could resonate with deeply. Likewise, Ms Kivelehan’s disgust at there only being a single Eckles cake in the room provided a clear indication of the piece’s historical context and Pinter’s naturalistic character development.

In conclusion, it was an enjoyable show with constantly changing dynamic, in a room that was easily commanded shifting quickly and smoothly from satire to serious. Mr Lang’s directorial debut has paved the way for future HUDDEEs within the department and generated a buzz amongst students and staff alike. As Communications Reps, we believe that we have voiced the opinions of the audience well, but on our behalf we would like to say that we enjoyed the show thoroughly and are proud of our peers for producing such a high-standard production within a limited time frame.

7th October 2019

Photography credits go to Shannon Johnston (XPhoria Photography)