Antigone, Greenwich Theatre, London

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The Actors of Dionysus are touring the UK at the moment with this, a sci-fi tinged modern adaptation of Sophocles’ two and a half thousand year old play. Antigone, a Greek tragedy, has never really been an easy watch, but this adaptation has definitely made it more accessible.

Christopher Adams has written, a well thought out, updating of the play. I enjoyed the conceit of making the chorus of the original into the hive mind of linked computers. I thought the idea of making the soul into a chip that needed to be removed and uploaded worked well and gave us a good insight into Antigone’s motivation and into Creon’s harshness at refusing to allow it.

The stage setting is interesting, I guess touring made the set need to be as simple as it was, and I liked the current touches, the surveillance drones are particularly clever and fitted very well with the story and setting. The simplicity of the set did emphasise the universal themes of the play.

I found the acting good and I enjoyed the way each character pushed their agenda. I particularly liked the change in Creon from harsh dictator to broken soul. The well intentioned but misguided leader delivering tough love for the good of the populace can be a hard sell at times, but he brought it off well.

It is a Greek tragedy, so we cannot expect a happy or wholesome outcome, however it is a tribute to Antigone’s universal themes that it is still being performed over two millennia after it was written and this is as enjoyable and accessible a production as you are likely to see anywhere.  Thoroughly recommended.the

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Shoreditch Takeover, Shoreditch Town Hall, London

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Shoreditch is the centre of cool in London at the moment, so you would expect its contribution to the Dance Umbrella Festival 2017 to be cutting edge and innovative. On both these counts it certainly delivers. Shoreditch Takeover is made up of four very different pieces, happening in separate spaces within the beautiful old building that is Shoreditch Town Hall. Twenty first century art within nineteenth century architecture.

First is Rays, Sparks and Beating Glows. This is choreographed by Julie Cunningham and is an intense piece, about gender and feminism, for four dancers. It is performed without music, although there is some spoken word towards the end.

Next is Vanessa Kinsuule, who is a wonderful poet. She is, witty, insightful, nostalgic and honest. She has a winning personality, who can really involve an audience and the introductions to the poems are almost as good as the poems themselves.  Her whole set is great and the poem about an evening, dancing at a nightclub, is a highlight.

The third set is Lizbeth Gruwez dances Bob Dylan, a personal interpretation, exploring the edges of dance. For “Knockin’ on Heavens Door”, Lizbeth stands with her back to the audience at the front of the stage and walks, slowly and beautifully, to the back. You haven’t seen minimalism in dance until you have watched this. The Bob Dylan tracks are played on vinyl and are quite scratchy at times, invoking images of drunk and stoned nights in 70’s bedsits.

The final work is a film, The Shadow Drone Project, cleverly filmed from above, where the actual bodies of the dancers can hardly be seen, but instead we watch their shadows interact with each other. Some of this appears choreographed and some not, blurring the line between formal dance and how our brains make patterns.

All in all, a varied and interesting night in a lovely venue, a good addition to the Dance Umbrella Festival 2017.

Othello, Ambassadors Theatre, London. National Youth Theatre of Great Britain.

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This is a fantastic production of Othello. The adaptation, by Frantic Assembly, was first performed by the National Youth Theatre in 1996 and this is an updated revival of that show.  The action has been brought into a contemporary setting, a dodgy looking pub where the tension and bravado are palpable and only the tough survive. Othello’s army is a neighbourhood gang. Shakespeare’s language fits in surprisingly well and the themes feel current and accessible.

The opening is a long wordless dance sequence that sets the scene. Its shows us the relationships between the various gang members, and their place in the hierarchy. The choreography is energetic and modern. The, usually awkward, fight scenes are handled with aplomb. The set looks simple but even this is extraordinary and comes into its own in moments of heightened tension.

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Every actor is very good. Megan Burke is a hard-as-nails Emelia, who won’t be talked down when it comes to getting justice for her friend. Rebecca Hesketh-Smith is a sweet but upfront Desdemona. Curtis John Kemlo plays Roderigo as puny and weak, bringing an interesting new perspective to the role. Mohammed Mansaray, as Othello,  is tender in love and harsh in anger.  Jamie Rose steals the show as Iago, playing him as a shifty, cheeky chappie, with sly winks and gestures, letting the audience in on his secrets, while behaving abominably. I see a Bond villain in the making.

 

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Photos courtesy of Helen Murray

 

The director is Simon Pittman, he has done a remarkable job, drawing clear and strong performances from all the characters. The tempo is quick and up to date, but he is not afraid to pause the action to press a point. The closing scene is masterful.

This production is playing selected dates between now and December. The future of British theatre is here and playing at the Ambassadors Theatre.

Rich Mix, 35-47 Bethnal Green Road, London E1

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Rich Mix is a flexible, interesting venue, very handily located less than 100metres from Shoreditch High Street Overground Station. It has a theatre space and a bar on the 4th floor, holding around 100 people comfortably. The ground floor has a licensed bar in a space suitable for theatre, dance or live music and this area can accommodate many more. The first floor is a mezzanine, looking down over the stage. There are three cinema screens on the floors in between and there is also an Indian restaurant/café on the premises.

What really makes this venue, is the variety and diversity of the cultural events that are put on here. If you look at the programme for the coming month alone, there is theatre, dance, live bands, open mic nights, story-telling evenings, political events, family events, not to mention the films showing in the cinema, where it is one of the venues hosting the London Film Festival. It is also a venue for London Dance Umbrella Festival.

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There mezzanine doubles as an art gallery and currently hosts a multimedia exhibition: Black Pride.  Among upcoming exhibitions are “Hard to Read” bringing together art and poetry, and another depicting illustrations of Syrian refugees. There are weekend markets with different themes, one in December is specifically for independent potters and ceramicists.

An adaptable venue, embracing the local community, accommodating the art scene and enhancing London’s rich cultural diversity.

Trois Grandes Fugues, Lyon Opera Ballet, Sadler’s Wells, Islington, London

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Trois Grandes Fugues is a simple but clever idea. Three different choreographers take the same piece of music, in this case Beethoven’s “Die Grosse Fuge”, and bring their interpretation of it, to the stage. I came to the show not knowing the music and uninformed with regard to the language of dance.

The three dances are all completely different. The first is the most traditionally classical in its form. Lucinda Childs has six couples investigate the geometric patterns in the music. The dancers are dressed in simple grey figure hugging body suits, the dance is graceful, formal, mathematical and balletic.

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The next, Anne Teresa De Keersmaeker, has her 8 dancers, 6 men and 2 women, in dark suits with open necked white shirts. Formally dressed at first the jackets are removed and some of the shirts are opened as the dance moves on. Each dancer appears to be linked to different sections of the orchestra and they move across the stage, together or apart, each seemingly linked to their own particular instrument.

The final piece by Maguy Marin, has her dancers less formally dressed, in shades of red, and her interpretation is wilder, more emotional, and the four dancers emphasise the dramatic and canonical motifs. They follow each other round the stage in more staccato movements, showing the fierce energy and strife in Beethoven’s work.

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I like Beethoven, usually his pastoral pieces are more to my taste, having heard this 20 minute work three times, each time I enjoyed it more, and I will look out for it, to listen to at home. I had a fantastic evening and I felt like I had been given an introductory lesson into both classical music and dance.

Jekyll and Hyde, National Youth Theatre, Ambassadors Theatre, London

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The National Youth Theatre’s production of Jekyll and Hyde is a deconstruction of the original novella by Robert Louis Stevenson, rebuilt with a modern feminist twist by writer Evan Placey. Combining Victorian settings and morals with modern day language and values adds a new dimension to the duality theme of the story.

The decision to have a female Jekyll is not only brave but astute, and this production perfectly captures the zeitgeist with the discussion about sexism in film and theatre so much in the news. The writing is forthright, the jolt of the coarse language spoken by the Victorian ladies near the start of the play becomes clear in the second act, there is no doubt that Evan Placey is a talented author, of whom we will hear more in the future.

Aside from the writing there is much to recommend in this production. The acting throughout is accomplished. Jennifer Walsh in particular is excellent as Florence, a young adult coming to terms with the fact that although no one else is going to stand up for her, she has the power to stand up for herself.  Elizabeth McCafferty confidently makes the transitions between Jekyll and Hyde both striking and convincing. Mohammed Mansaray has a funny scene as a priest, which he delivers very well.

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The direction is brisk and contemporary, so that even in the midst of 19th century London, we feel linked to the current day. The director, Roy Alexander Weise, is not afraid to be confrontational, daring to breach our comfort zone in order that we feel the characters’ anger. The costume design is remarkable and clever, the ensemble changes from church house to flop house in the blink of an eye.

 

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Pictures courtesy of Nobby Clark

 

Jekyll and Hyde has a few rough edges, but challenging, thought provoking productions like this are exactly the remit of The National Youth Theatre and I have to say that I thoroughly enjoyed this show.

Hershey Felder, Our Great Tchaikovsky, The Other Palace, Victoria, London

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Hershey Felder has spent the last two decades recreating, on stage, the lives of great composers, while playing their music to highlight salient moments from those lives. Tchaikovsky is the sixth in this series. The genre is part biography, part piano recital.

The stage is set to resemble a room in his dacha in Klin, with rugs, cabinets and a baby grand piano. There is a large portrait over a writing table, whose likeness changes to whoever he is speaking about. The backdrop to the set also has illustrations which change to reflect different periods of his life.

Felder begins the show by coming on to the stage with a letter he has received from the Russian Government inviting him to bring his story of the life their greatest composer to be performed in his home country. He asks the audience whether he should do this.  This is a rhetorical question, as the difference between his account of Tchaikovsky’s life and the official Russian version is vast, and it seems unlikely that Hershey Felder’s telling of events would prove popular there.

Tchaikovsky’s story is told by picking out individual snippets of his life, mostly in chronological order, and combining them with music that he was writing or performing at the time. The effect is like an entertaining lesson combined with a piano recitation by an inventive and musically talented professor; imagine one of the best university lectures that you have attended and you won’t be far wrong.

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Hershey Felder has chosen which events to recreate, so we are given the narrative from his point of view, and he makes us aware that others may look upon his life differently. For me, who liked Tchaikovsky’s music, but who knew hardly anything about his life, it was a perfect combination. I was given an insight into the man while listening to an accomplished pianist playing his greatest hits.review