Nickel Steal
American Buffalo
by David Mamet
Richmond Shakespeare Society at the Mary Wallace Theatre, Twickenham until 21st September
Review by Salieri
This intriguing, but not wholly satisfactory play, receives an interesting production by RSS, but there are hurdles to overcome, which do not completely satisfy the listener. Even the second half, which is much more animated than the over-long first half, does not provide a definite conclusion.
The play is set in a junk shop, and the staging here is excellent with a large number of items spread around the set: bit tidy perhaps. It does limit much movement of the actors, but I think it adds to the play, giving it a claustrophobic atmosphere. As the play proceeds, we realise that their surroundings weigh heavily upon the three characters, affecting their thoughts and their actions, which never really happen as they try to make plans.
Read more…Everything in its Right Place
How to Disappear Completely and Never Be Found
by Fin Kennedy
The Questors at the Questors Studio, Ealing until 21st September
Review by Andrew Lawston
Opening with a series of vignettes about people who suddenly walked away from their lives, never to be seen again, How to Disappear Completely and Never Be Found deals with a sensitive and under-reported topic, the 100,000-250,000 people reported missing in the UK each year.
The sparse staging of the play’s opening moments is deceptive – Juliette Demoulin’s set quickly becomes a character in its own right as flats are wheeled on and off stage by the cast at speed, spinning to reveal wardrobes, offices, and a towering toilet! The set is completed by photo and video projections against one of the flats. With a props list that must also have comprised several pages, the whole production is deftly handled by the cast and stage manager Evan Rule.
Read more…Powerful Portrayal of Resistance and Humanity
The Last Word
concept by Maxim Didenko
Wild Yak Productions at the Marylebone Theatre until 21st September
Review by Susan Furnell
As The Last Word opens on a dark set at the Marylebone Theatre, it immerses the audience in a haunting portrayal of the cost of resisting oppression.
Directed by the acclaimed Maxim Didenko, this UK premiere (following its earlier release in Berlin), tells the stories of twelve women persecuted for their non-violent political activism in modern day Russia.
With each story, filled with heartache, resilience and profound humanity, we see the chilling reality behind Russia’s oppressive regime – a world in which the “final statement” (from the witness in a bullet proof glass cage) in the courtroom that is to sentence them has become one of the last places where the free speech is still possible. Their final statement is “the last word”.
Read more…Juicy with Zest
Tales from the Bitten Peach
Pan Asian Cabaret at the Underbelly Festival Cavendish Square, West End until 21st September
Review by Denis Valentine
As a show Tales from the Bitten Peach is first and foremost a highly entertaining affair, with some very impressive cabaret set pieces and acts, yet under the surface of all the lights, sounds, dancing, music and fire there are poignant messages interlaced throughout. For anyone really listening and watching closely, there is great room for thought and a chance for better insight and understanding of some of the trials and tribulations of Asian culture, whether it be in terms of being reflective in on itself or on a globally viewed level.
Read more…Stagey and Cagey
The Shatter Box
by James Lewis
Proforça Theatre at the Lion and Unicorn Theatre, Islington until 14th September
Review by Denis Valentine
Upon entering the Lion and Unicorn theatre space the audience is met with the striking visual of a darkened room with computer screens monitoring heartbeats and other vital signs and with a man lying in a cage. It is clear from the starting point that at the very least the production about to unfold will be visually bold.
Writer James Lewis deserves praise for coming up with such a bold theatre concept. Dystopian, torture, interrogation plays are not particular common and the fact that Proforça would look to put on such should be recognised as a bold and interesting choice.
Read more…L’Heure Exquise
555: Verlaine en Prison
by Logan Lopez Gonzalez and Eleanor Burke, music by Debussy, Hahn and Fauré
Green Opera, Grimeborn Festival at the Arcola Theatre until 7th September
Review by Patrick Shorrock
This is, essentially, an artfully crafted hour-long song recital with a bit of acting, narrative, and context thrown in, and featuring extracts from the poems and letters of Paul Verlaine. Those who love the French Chanson – and I do – are likely to be extremely happy. We have some glorious singing from countertenor Logan Lopez Gonzalez, who put this this show together with director Eleanor Burke. Accompanied nicely by Pianist Stella Marie Lorenz, he entrances with his long beautifully sustained high notes at the end of the sensuous phrases. This is just gorgeous.
Read more…Umbrella Understanding
Man In The Rain
by Tony Bell
Quiet Light at Stanley Arts, Norwood until 31st August, then on tour until 30th September
Review by Denis Valentine
One man shows, especially of an autobiographical nature, can often be challenging and brave pieces, and Man In The Rain written and starring Tony Bell is no exception.
It is clear from the start that Bell will take his audience on a journey through his life and explore and reflect on the relationships that have moulded him and display to the audience what makes a person the way they are … and what has led them to being in the same room as him now.
The main theme of the show is quite literally that of living and the moments going through life that shape a person. Bell begins at childhood and there are pieces and moments that most in the audience growing up in Britain will be able to directly relate to. A great depiction is the end of childhood innocence being met with the pitfalls of adolescence, where Bell’s singing of a childhood song is interrupted with increasing intensity with slurs and the confrontation of adolescent troubles.
Read more…Mirrored in the Memory
Swan Lake
by Pyotr Ilych Tchaikovsky, choreography by Alexei Fadeyechev and Nina Ananiashvili, after Marius Petipa and Lev Ivanov
The State Ballet of Georgia at the London Coliseum until 8th September, then on tour until 24th November
Review by Harry Zimmerman
It is often said that one of the purposes of artistic endeavour is to lift us from the harsh realities of day to day living. At this time, most of us need some form of escape from the trials and tribulations of everyday life; and the State Ballet of Georgia’s production of Swan Lake certainly offers an evening of sumptuous escapism.
The company has grown in stature under the artistic guidance of Nina Ananiashvili, former prima ballerina with the Bolshoi Ballet and American Ballet Theatre, and there was a packed and expectant audience in the London Coliseum, waiting to be transported into the well-loved fairy-tale. But would it have a happy ending?
Read more…I Know Thee Not
Before Nell and After Agincourt
by Peter Mottley
Crooked Billets Theatre Company at the Theatre at the Tabard, Chiswick until 31st August
Review by Andrew Lawston
With its enormous battles, rousing patriotic speeches, and labyrinthine Fifteenth Century European politics, Henry V is among Shakespeare’s most celebrated plays, and is endlessly quoted by people who haven’t seen it. Before Nell and After Agincourt, a brace of dramatic monologues by Peter Mottley that effectively bookend the events of Shakespeare’s historical opus, seeks to introduce a fresh perspective by focusing on two of the supporting characters, Nell Quickly and Pistol.
Read more…Figaro up Close and Personal
Le Nozze di Figaro
by Wolfgang Amadeus Mozart, libretto by Lorenzo da Ponte
Ensemble OrQuesta, Grimeborn Festival at the Arcola Theatre until 31st August
Review by Patrick Shorrock
This performance by Ensemble OrQuesta contains much to admire, but doesn’t quite come to life. In many ways, the Arcola, where the orchestra isn’t acting as a barrier between audience and singers, is an ideal venue for a piece as dramatic as this, but the impact here is muted in a number of ways.
Read more…
Mark Aspen 