‘Compositor E’ is a poetic and lyrical play with writing that echoes the Shakespeare our main characters are setting into manuscript. On entering the theatre, I felt immediately transported to the work room of a publishing house. The ambient sounds and smoky atmosphere are all encompassing, with actors waiting motionless.
The play begins with John Leason, played by Tré Medley, starting his first day at the printers as an apprentice. His surroundings are intimidating and confusing. The foreman in charge appears to be Isaac Jaggard, played Kaffe Keating, who has no patience to give any care to the young John and Kaffe Keating portrays him convincingly as a brusque and sharp character. We meet his rival in Richard Bardolph, played by David Monteith – a wonderfully theatrical and dynamic character, with displays of poetic anger and all the fury of a man frustrated in his work.
It soon becomes apparent that John has a unique and sought after skill as he can read the nearly illegible handwriting that must be put into print. The play switches from the present moment to John Leason’s traumatic memories of his mother. As the tale of Macbeth unfurls at the fingers of the young compositor, the memories resurface and a horrific realisation is awakened. He is not just setting down font, but facing the very King whose censorship caused his mother’s downfall.
The staging is used brilliantly as we see the type appear on the walls of the work room in a reflection of main character’s own absorption into the story he sets in print. The audience is invited to become truly transfixed by the tales as they intertwine. Dreamlike sequences create a surreal impression as the main character’s mind unravels deeper truth. The supporting cast have wonderfully choreographed stage movement that adds tension to the play.
What’s in a word? One small letter that John discovers can change the meaning and protests the king. John Leason’s final monologue is a powerful call to remember that one has the power to write their own meaning into tales told in order to discover the truth and Medley delivers this faultlessly. It’s a moving ending of quiet rebellion.
All the cast of ‘Compositor E’ were truly wonderful in their roles. The writing was dramatic and engaging and the story is a unique portrayal of the power of the written word and the stories we tell. I thoroughly enjoyed this performance.
Baby Fairypowered had a day off hospital visits so, she sat down with the stars of Snow White – Josh Benson (Muddles), Marina Lawrence- Mahrra (Snow White), Gareth Gates (The Prince), Jenny Ryan (The Wicked Queen) and Jamie Jones (Mrs Nelly Nightnurse).
Credit: Scott Akoz
You can catch Snow White at Darlington Hippodrome from Friday 8th to Sunday 31st December. Tickets available from the theatre, over the phone or online
Have you ever been to Darlington before?
JOSH Yes, I came last year to see what it was like and thought it was fun which made me want to do panto here this year.
MARINA Yes, I have family up here and they are all very excited to see the Panto
GARETH I’ve been here a few times and I’m looking forward to spending a few weeks here. I’m planning on exploring the area whilst I’m here.
JENNY This is the first time I’ve been to Darlington and I’m really looking forward to it.
JAMIE I’ve never been but I’m looking forward to spending time here.
Credit: Scott Akoz
Have you done panto before?
JOSH Yes. I appeared as a kid in Panto in 2007 in York and did my first panto as an adult in Chesterfield in 2018. I did 3 seasons in Halifax starting in 2019 but due to Covid I did a travelling panto in 2020 which was a lot of fun.
MARINA I played Princess Tiger Lily in Bradford.
GARETH This is either my 12th or 13th panto, I’ve lost count. Pantos are always fun to do and I can’t imagine not doing them now.
JENNY This is my third panto. My previous two were playing Caraboss in Sleeping Beauty so I’m looking forward to playing a different villain this time.
JAMIE I’ve been doing panto for 15 years, I started at 16 and I’m 29 now. I mostly play dames but I’ve also played villains, a fairy and a few comic roles but the dame is my forte.
Credit: Scott Akoz
What do you plan to do in your time off from the show?
JOSH We don’t get a lot of off time from the show but I’m an entertainment manager for York Maze so I have a lot of work to do for that. Any time I do have off i will be resting as my role involves a lot of jumping around and being silly so even if Im doing work for York Maze I’ll have my feet up.
MARINA We don’t get much time off really but any time off I do have I plan on doing some yoga and prepping healthy meals.
GARETH We’re doing two shows every day and we’re only off on Mondays but I’ll have family coming up and I’m planning on spending time with my daughter.
JENNY I will most likely be sleeping but I plan to hang out in Darlington. I know friends and family are coming to visit so I’m hoping to go on a few day trips with them.
JAMIE I’m going to try and see other shows. I love panto and have friends in the area appearing in other shows. This time of year is just panto, panto, panto.
Credit: Scott Akoz
What can you tell us about Snow White?
JOSH I’ve not seen the script yet but it will be the traditional story that everyone knows and loves. It’s going to be exciting and daft.
MARINA I’ve not met the director yet but she’s positive, kind and excited to see the world. I’m excited to play the part.
GARETH I’ve worked with CrossRoads before in the past. The script looks fantastic and there are lots of jokes for adults and laughs for the kids. The cast are really fun and upbeat as well which is always a good thing
JAMIEVery little, it is a strict secret. It’s going to be a blast, we’ve got a number one recording artist and a really funny dame as part of the cast and I’m hoping I don’t scare too many people
JAMIE It’s going to be a great show. I love my costumes and the scenery is stunning. We have some really great flying effects as well. There are laughs for everyone in the show.
Credit: Scott Akoz
Do you enjoy panto? Would you like to do other theatre roles?
JOSH I love Panto. I’m a children’s entertainer so I get to be myself. Panto roles lend themselves to my natural skill set which is always fun. I would like to play Micky in Blood Brothers but I’m not fussed about roles.
MARINA Yes, you get to be silly and you get to make children smile. I would love to play the leading lady in a new musical because my heart is in musical theatre
GARETH I’m from Bradford which is a really big panto city. It’s about bringing joy and making people happy. I’ve been in some really great shows including Les Miserables, Joseph and recently SpongeBob the musical but I would love to play Ffiyero in Wicked.
JENNY I love panto. I think children should be given a ticket to see the panto to help encourage them into the theatre. I would love a small part in a West End show with a little bit of singing.
JAMIE Enjoy isn’t a strong enough word, I’m obsessed with panto. Panto is the first thing most children see at the theatre. I still love going to the panto even now. Panto is very humour based so I would love to play a more serious role or someone like Dolly from Hello Dolly or Bert from Mary Poppins.
Credit: Scott Akoz
What is it like playing your character?
JOSH It’s very easy. I get to use my natural skill set but it is a physically exhausting role with all the jumping around.
MARINA It’s nice to feel young again and it is always fun to be a princess.
GARETH I play the Prince and it is really great. I’ve played the Prince before and it was a lot of fun. I’m looking forward to this show because I get to sing one of my own songs.
JENNY Being a villain is a lot of fun, you get to be very over the top in the role. I’m looking forward to scaring the little children so it’s a brilliant role for a Chaser.
JAMIE I love my character. I love the costume, wig and shoe changes. I have a different look every time I come on stage. I make all my own costumes so I plan everything depending on the scene and what is happening. In this show I have between 12 and 15 entrances and I have a different look for each one. I love working with the rest of the cast as well so it’s going to be a fun show.
Credit: Scott Akoz
What do you plan to do on Christmas Day?
JOSH My main plan is to sleep. I’m going to have a nice calm day and make the most of my time off.
MARINA I plan on seeing some family, eating good food and having a glass of bubbly. I’m also looking forward to having some time off from wearing makeup, even if it’s just for the day.
GARETH I’m glad to be doing a panto up north because it means I can go home for Christmas as it is less than a two hour drive back. With some previous pantos I’ve been too far from home to make the journey worthwhile but Darlington is perfect for me in that regard.
JENNY Hopefully my parents will come and visit. If they do, we will most likely have a proper christmas dinner and I’ll fall asleep during the Strictly Christmas special.
JAMIE Sleep? No, I’ll try and go home. I’m from Lichfield in the midlands so I can drive home after the show on Christmas Eve and come back on Boxing Day morning.
Credit: Scott Akoz
Do you plan to see any other pantos while you are in the area?
JOSH I’m going to try and see other shows, Newcastle is meant to be a good panto so I’m going to try and see that if I can.
MARINA Sadly I won’t have time to see other shows but I wish I could.
GARETH Unfortunately we all tend to have the same day off so it’s hard to see other shows. If I can, I’m going to try and see the shows in Sunderland, Hartlepool or Newcastle because I’ve heard a lot about them.
JENNY If there is time and no overlap. A lot of shows have the same off day so it’s hard to see other shows during panto season.
JAMIE I’m going to try. Hopefully on days where we have a morning show and a matinee I will be able to go and see a show in the evening in the area.
Mayflower Theatre, Southampton – until 23 September 2023
Reviewed by Gemma Gibson
5*****
When you go to watch an Ailey 2 production, you are going to more than just a dance – there is always a story to tell. Coupled with the most incredible, emotionally- charged choreography, the sheer talent of this modern dance company will take your breath away.
Presented by Dance Consortium, Ailey 2’s latest tour is currently underway, taking stories of celebration, sorrow and African American culture all across the UK.
Already aware of the extravagant movement, costumes and lighting an Ailey production offers, I took my seat at Southampton Mayflower and relaxed, excited to watch the show.
The production opens with an excerpt from William Forsythe’s Enemy in the Figure– this is the perfect opportunity to showcase the talent of Ailey 2’s dancers. Every move performed with precision and power, complimented by the use of lighting, shadows, and fringed trousers.
Freedom Series, by Ailey 2’s Artistic Director Francesca Harper, focusses on memories and the future, the exploration of identity and community. This wholesome and fluid piece was so unexpected after a sharp, explosive start, but of course this just highlights the breadth of what the dancers can do.
My favourite part of the entire production, lanterns are creatively intertwined into movement during Freedom Series, reminding me of fireflies, as (No One Knows Me) Like the Piano plays softly in the background. It was a beautiful, thought-provoking routine, once again (and quite literally) shining a light on the versatility of the dancers.
In complete contrast, charged with a different energy, Robert Battle’s The Hunt was the third routine of the night, demonstrating the primal nature of humans. This was performed by just four members of the company, but explosive and animalistic, this was an upbeat and thrilling piece that showed a different side to the human race.
Ending with Alvin Ailey’s Revelations, the final piece of the night explores a world of deep grief and sorrow, followed by moments of euphoria and joy. This is all against the backdrop of Ailey’s own experiences and upbringing, infused with African American culture.
A firm dance favourite of mine, this piece from 1960 continues to be performed year-on-year with the same beauty, grace and power. The use of gospel songs, holy blues and spiritual music compliments the movement and narrative beautifully. Every aspect of Revelations is timeless.
Fix Me, Jesus received the biggest round of applause of the night, the duet wow-ing the audience with its breathtaking lifts, use of the floor and strong kicks suspended in the air.
The dancers’ strength and ability to command the stage and perform such striking movement was an absolute joy to watch. Even running across the stage looked effortless.
Francesca Harper took over as Artistic Director of Ailey 2 in 2021, and after watching this production, it is more than clear her vision has enabled the company to remain current and fresh, while celebrating the legacy of Alvin Ailey.
The same dancers may feature in all four pieces, but each story was completely different from the last. From the most advanced but flawless ballet to Ailey’s iconic angular arms, spins and kicks, there is nothing this company cannot do.
Seven Dials Playhouse, London – until 30th September 2023
Reviewed by Celia Armand Smith
2**
As we sit and wait for the show to start, I spy the classic “Say it’s carol singers” cards from Love Actually on the floor next to a bench. This is a show about romantic comedies and if there is one thing I love, its a rom-com, and nothing says meet-cute like a bench. The show opens and in bounces Georgie Grier, the writer and performer of “Sunsets”, in a fluffy pink cardigan and heart shaped sunglasses. Grier plays Denver, a podcast host, and we are the audience for a live podcast recording. The concept is a novel one, and one that Grier has a lot of fun with.
Denver is on a mission to find her happily ever after via Notting Hill, The Wedding Planner, When Harry Met Sally, and every other rom-com from the last 35 years. The podcast has six episodes, and we are taken through each one leading up to this, the live recording of the final episode, “The Grand Gesture”. Adverts for dog food and bus tours with long discount codes punctuate each episode, and there is an off stage producer called “Producer Hannah” in Denver’s ear moving things along and promising to cut out the bits that go wrong. Both familiar features in podcasts.
With direction from Grace O’Keefe, there are some laughs, each one thanked by the character of Denver, and at times, the acting feels natural and malleable. Ready to change direction at a cough or a phone accidentally going off.
The story takes many a twist and turn via love at work, a bus tour, parents called Harry and Sally, a van with a cinema in it, and an absent friend. There are so many elements in the plot that it’s almost too much to be able to take in, and things are never explained or realised completely causing a bit of confusion. Grier is obviously a talented performer with huge range, and maintains a frenetic pace throughout. By the end of the 80 minutes (it overran a bit), and after a surprising ending, we are left trying to reconcile all of the plot points and figure out how it was all supposed to fit together.
“Sunsets” has real potential with a strong concept and a solid performance from Georgie Grier. Rom-coms and podcasts are ripe for a ripping apart, and after a few edits to the script, this could be the perfect vehicle for it.
Malvern Concert Club always gives us the very best in music, new talent and established stars in their field and tonight was no exception with the wonderful Quatuor Van Kuijk joined by classical guitarist of the moment Sean Shibe.
Opening the evening was Vierne’s String Quartet in D minor (1894). The work has that early 20th century sense of drama and melancholy. I particularly enjoyed the slow movement that can’t seem to make up its mind if it is agitated or calm but is always engaging. The players gave us muscular tutti moments coupled with light, filigree tripping figures which brilliantly brought the music to life. Not a work I was familiar with but it was obvious the quartet had an affinity and love for the material – the introductory speech set out their stall of presenting unjustly neglected French music to a wider audience. They certainly did that and gained another convert tonight. Shaun Shibe joined the quartet for Boccherini’s Guitar Quintet in D (1798). A rare treat hearing works for this ensemble. A courtly work with aspirations to be rustic; the use of “golpe” guitar technique (hitting the guitar top with the finger) and some clever bowing to evoke Spain’s flamenco heritage was particularly effective in this regard. After the interval Mr Shibe took centre stage with two very welcome Villa-Lobos etudes (extra to the programme). Then to three pieces for solo guitar played without break as a kind of three movement piece. First Adès “Habanera”: a dramatic piece in a thoroughly modern style which tonight’s soloist premiered back in 2021. Then the much loved and welcome De Falla’s “Homenaje ‘Pour le tombeau de Claude Debussy’” (1920) suitably dramatic and melancholy and displaying the full palette of classical guitar techniques which Mr Shibe executed with passion, gusto and precision. Lastly Poulenc’s “Sarabande” (1960) for solo guitar. A thoroughly satisfying triptych, providing an interesting contrast with the other pieces on the bill and showing intelligent programming from tonight’s six-string maestro. The final piece this evening was Castelnuovo-Tedesco’s “Quintet for Guitar and String Quartet” (1950). You can almost feel Spain’s sultry heat shimmering from the stage, especially in the even numbered movements. Was it my imagination (or longing for España) or could I hear echoes of the “Concerto de Aranjuez”?
The second movement was particularly impressive with a heartfelt yearning and intensity of playing that took the breath away; especially the deep, soulful playing from cellist Anthony Kondo! Gorgeous. Coupled with tight ensemble work from violinists Nicolas Van Kuijk and Sylvain Favre-Bulle and violist Emmanuel Francois plus Mr Shibe’s dramatic guitar, it was a musical marriage made in Heaven.
The passion and drama continued to the inevitable thunderous applause at the end.
Another thrilling evenings entertainment showcasing exceptional music making from the assembled talents of these gifted musicians, presented as always with a love and respect for the music in a commendably welcoming atmosphere by the wonderful Malvern Concert Club… What more could one need for a perfect evening? Let’s just say “I cannot wait for their next concert”!
The compact Cockpit Theatre in Marylebone is a bit of a fringe gem. It’s a purpose built, relatively modern (1969/70) community theatre with a tardis like ability to feel spacious inside. The buzzy, intimate atmosphere, audience friendly in-the-round configuration and good value tickets make for a welcoming theatre experience, even before the action starts.
The Cockpit’s one liner for Ovo’s production of ‘The Threepenny Opera’ is “a bold, imaginative musical comedy”. It’s certainly bold snd imaginative. I’m not sure that the comedy part was proven! However, in the context of Britain’s current fraught society, Ovo’s revival of this classic musical seems utterly prescient, given it was originally a socialist critique of the capitalist world.
Brecht/Weil/Hauptmann’s “cheap opera” has been updated for modern times with new lyrics by Director Adam Nichols in collaboration with original librettist Jeremy Sams. The directorial team of Adam Nichols, Julia Mintzer (Co-director) and Lada Valešcová (Conductor and MD) must be congratulated for managing intensely rich content to achieve such a cohesive, well-oiled production over 2½ hours involving 15 performers playing multiple parts as well as 21 instruments (including spoons!).
A remarkable team effort.
Captain Macheath (brilliantly played by Peter Watts) is an infamous gangster who kills and plunders at will, thanks to the protection offered by his ex army buddy the current Chief of Police,Tiger Brown (Lee Drage). He aspires to middle class respectability. The conniving Jonathan Peachum (Mark Carlisle), an equally unsavoury Fagin like character runs a major begging ring but fears Macheath’s relationship with his daughter Polly Peachum (Emily Panes) will hurt his racket. Celia Peachum (Annette Yeo) is Peachum’s wife who was hoping for a higher class match for Polly. Lucy Brown (Emilia Harrild) is the daughter of the police chief, Macheath’s lover and claims to be pregnant by him. Low Dive Jenny (Faith Turner) is another former love of Macheath and now a prostitute. (If the devil could cast his net…)
The wonderfully versatile cast were mostly deployed with their instruments on the bottom tier of seats surrounding the stage with some quick-fire visits to a minimally dressed centre stage for individual and ensemble performing duties. The basic set resembled a circular bandstand with a small podium and columns defined by dangling ropes. This cleverly served as Peachum’s HQ, Macheath’s lair and wedding venue – a Sainsbury’s abattoir, and his eventual prison cell. Props were various mannequin parts presumably reflecting their use in Peachum’s begging operation and Macheath’s abattoir.
There was so much going on in this show, there were inevitably moments of sensory overload, and some song lyrics were difficult to pick up – a minor shame in the scheme of things. For the most part, the spoken dialogue worked brilliantly and convincingly for such duckers and divers in conversation. The time and effort that has gone into preparing this production is evident. The whole company truly earned the enthusiastic reception for an impressively professional show. It was full blooded theatre – every performer gave their all, and the result was a high quality, and stimulating evening of entertainment, containing several towering individual contributions.
The physically imposing and naturally charismatic James Watt, seeming to channel Michael Caine at times, fairly bristled with barely suppressed testosterone as Macheath. Mark Carlisle, full of menace was suitably calculating and mercenary as Peachum. Emily Panes (as Polly Peachum) managed to tread the fine line between doting bride and hard nosed gold-digger/business partner with ease, as well as singing beautifully (including a great take on the ‘Pirate Jenny’ song) and playing the bandoneon. Emilia Harrild (as Lucy Brown) was probably the pick of the lead vocalists with a superb ‘Ballad of Mack the Knife’ plus expert cello. I also enjoyed Ben Howarth as Filch, a prospective Peachum beggar doubling up as one of Tiger Brown’s constables and main percussionist.
Ovo’s fine production of ‘The Threepenny Opera’ exudes energy and artistry. If you are open to going off-piste and experiencing something with more guts than the usual crowd pleasing fodder, and also supporting the admirable depth of performing talent around Britain, I would throughly commend this marvellous production.
The English language premiere of the international hit based on Daphne Du Maurier’s evocative novel doesn’t quite reach Hitchcockian heights.
The show opens with the wonderful Lauren Jones singing the most affecting and understated number of the show, “Last night I dreamt of Manderley” before the action begins in Monte Carlo. It is 1927 and the timid unnamed character is being trained as a companion and meets the suave widower Maxim de Winter (Richard Carson). A whirlwind romance ensues (blink and you’ll miss it) before they marry and he takes her to his ancestral home in Cornwall, Manderley. The second Mrs de Winter is a great disappointment to the staff, especially housekeeper Mrs Danvers (Kara Lane) who runs the house according to her beloved Rebecca’s standards. The ghost of Rebecca, the first Mrs de Winter looms large as everyone talks of her beauty and charm which they judge the unassuming new wife can’t match. Mrs Danvers campaign against Maxim’s new wife ramps up as she plays on her insecurities and the oppressive nature of the house takes its toll. The mystery surrounding Rebecca’s death is revealed and on learning of the true nature of Maxim’s relationship with Rebecca, the new Mrs de Winter finds her confidence and shows spirit as she grows in confidence and refuses to buckle under Mrs Danvers’ influence as she supports her husband in his hour of need.
Sylvester Levay’s music and orchestrations are lush and ambitious. Having never seen Michael Kunze’s German language version I can’t comment, but Christopher Hampton’s English translation is unfortunately clunky and overblown at times. The choices to sing through some parts of conversations and talk through others is slightly baffling, and the numbers that are obviously deemed IMPORTANT could do with having a few choruses trimmed. Richard Carson does his utmost in his confessional “I’ll never forget her smile”, but there is so much thrown stylistically into that song that it is hard to care about a pivotal revelation. I found it disappointing that the writers went with Hitchcock’s version of Rebecca’s death rather than Du Maurier’s original, as Maxim’s actions and his wife’s decision to stand by him are much more questionable and interesting in the original version, but the choice fitted in with this melodramatic show.
Director Alejandro Bonatto keeps the action moving amidst some awkward scene changes on a set that never seems to quite match the lofty ambitions of the show. Perhaps on a larger stage and with a bigger budget the vision could be achieved. There is some atmospheric projections and lighting that impress, but soon become overused and lose impact. The expositional numbers from the staff at Manderley are fun, and the shipwreck scene is wonderfully staged. With the cast entering from the auditorium at certain points, I can understand the choice to have the cast running everywhere when Manderley burns, but the scene becomes unwittingly comical rather than dramatic, somewhat dampening the tension. Jones and Carson have gorgeous voices and try their best to make the underwritten characters memorable, while Kara Lane channels her inner Morticia as the increasingly unhinged Mrs Danvers. Lane is delightfully creepy and imposing and nails the title song with killer vocals. Unfortunately, that song is used a little too much as a marker of Mrs D’s obsessive devotion and loses its power.
There are the makings of a wonderfully dark and atmospheric production in this material – some judicial trimming and enhancing the writing of the de Winters would help. As it stands, Rebecca is a worthy attempt with soaring music and a fine cast.
Velma Celli’s, God Save the Queens is a mix of old fashioned cabaret and humour that Ian Stroughair (Celli) delivers with his usual confident demeanour and old school wit. He unashamedly informs the crowd from the start that if they’re easily offended then this shows not for them. Of course everyone knows what they’re getting from the experience and laps up his initial banter before settling down to enjoy the show.
The thing with Stroughair is although his alter ego plays up to the crowd with his stage character and diva antics, he can of course sing and very well at that. Beginning with Florence and the Machine (Dog Days are Over) he sets a tone from the start. Peppered with classics from Queens such as Adele, Amy Winehouse and Annie Lennox, he belts out hit after hit, hitting the high notes with aplomb.
A show like this can be particularly exhausting when delivering a set of powerful hits but Celli never falters. The crowd is encouraged to get involved throughout, which makes for a great atmosphere. Some personal stories from Celli adds some depth to the performance and then after the break you’re treat to some lovely moments with special guests Jessica Steel and Stuart Allen. This leads to a particularly poignant duet between Steel and Celli, singing Sinead O’Connors, Nothing Compares 2 U, which quietened the audience as it was a beautiful tribute to the late singer. Once Celli took centre stage again, the show was then wrapped up with a fabulous Queen medley sending the raucous crowd home satisfied that they’d been thoroughly entertained.
Despite the fantastic vocals and sharp wit of Celli, I think she was let down a little with the production. The show could do with a bit more glam befitting of a night with a Queen. Celli looked fabulous but the stage setting was rather drab. The band sat behind in relative darkness, looking at times to be bored and a little out of place. A show like this needs a background that is worthy of the songs and the artist performing them, their name up in lights, some dancers possibly. Aside from this Celli thoroughly entertained the crowd and I can understand how Stroughair has won so many accolades for other performances in the past. Just next time, we need a stage that is fit for a Queen.
Fiery Angel and The Shed present the KBTC production of William Shakespeare’s KING LEAR
Additional £20 tickets will be released for Kenneth Branagh’s King Lear – available through three new schemes
Weekly lottery – 14 tickets per performance in the front row of the Stalls will be available in advance via a weekly lottery scheme
Day tickets – Additional seats in the front row of the Stalls, plus standing tickets at the back of the Stalls will be released online every performance day
Advance standing tickets – standing tickets in the Grand Circle will be released online each week for the following week’s performances
Following the sale of approximately one hundred £20 tickets per performance of King Lear, the producers today announced the planned release of additional £20 tickets via three schemes.
The Weekly Lottery, Day Tickets, and Advance Standing Tickets will all be priced at £20 per ticket, with no additional booking fees or charges.
For more information and to purchase these tickets, please visit www.delfontmackintosh.co.uk/whats-on/king-lear
Weekly Lottery 14 tickets per performance in the front row of the Stalls will be made available via a lottery process on a weekly basis.
An online lottery application process will open at 00:01am on Thursdays and close at 10am on the following Wednesday. Successful applicants will be notified at 1pm on Wednesdays and will have two hours to purchase their tickets.
Online application forms for the first draw will be available from Thursday 12 October. The first draw will take place on Wednesday 18 October for the first performance on 21 October, along with the following week’s performances.
Day Tickets Additional seats in the front row of the Stalls, plus standing tickets located at the back of the Stalls will be released online at 10:30am on the morning of each performance day for any performances taking place that day.
Advance Standing Tickets Standing tickets in the Grand Circle will be released online each Wednesday, following the weekly lottery draw, for the following week’s performances. This scheme will provide an opportunity for anyone who does not wish to participate in the lottery, or whose lottery application has been unsuccessful, to purchase £20 tickets in advance.
The production will run for 50 performances only and will have a running time of approximately 2 hours with no interval.
Curve Theatre Leicester – until 23rd September 2023
Reviewed by Amarjeet Singh
3***
One of Kafka’s best-known works, Metamorphosis tells the story of salesman Gregor Samsa, who wakes one morning to find himself inexplicably transformed into a huge insect. Following his transformation, he is unable to work or reassimilate into normal life and thus he begins to contemplate his existence. Poet Lemn Sissay has teamed up with Frantic Assembly to bring the novella to the stage with the focus being on an economic system which forces people on to a conveyor belt of capitalism and discourages all forms of individuality and creativity.
Gregor Samsa is a salesman providing for his mother and sister and his unemployed, debt ridden, controlling father. The opening scene portrayed brilliantly the monotony of the daily grind as Samsa’s sole dialogue is a repetition of a line, and he repeats a pattern of movement coming through a door and up steps to represent his working day. This soon becomes exhausting, both for him and unfortunately for the viewer.
At times during the first half, I struggled to connect to the play, there appeared to be a battle between lyric and movement, an either or. Static or frenetic. I honestly wasn’t sure what was happening in parts. Having read Kafka, I had the context, but this was too fragmented and disjointed to decipher. The second half was more cohesive, but unfortunately some people didn’t return.
The set, designed by Jon Bauser was deceptively minimalistic. A box room, claustrophobic, perfectly portraying Samsa’s prison. Flash fashion magazines were projected on to the grungy white walls during the opening scenes. The ceiling light had a role of its own, swing, pivot, flashlight. A bed which swallowed, masked and tilted. The sinister slow move of the room made for a very disconcerting feel indeed. My only criticism would be that the audience on the peripheral seats would miss what was happening within the room as its quite boxed in.
Simisola Majekodunmi made magic with shadow work, casting images of insects on the wall, in lieu of a full insect costume and utilising harsh lights to disorientate and blind. Sudden blackouts also added to Samsa’s ability to scuttle and leap in the blink of an eye across his room. Again my only criticism would be that the audience on the peripheral seats would miss some of the insect shadow work as it could only be seen if you had front facing seats.
Felipe Pacheco as George Samsa was spectacular. He showed incredible physical strength and athletic flexibility and demonstrated Samsa’s metamorphosis as magnificently as the production enabled him to. There is a wonderful scene where he is caught up in several chairs, insect like, very clever work indeed. Louise May Newberry and Troy Glasgow were fabulous as the parents and Joe Layton played his multiple roles with gusto. Hannah Sinclair Robinson was arresting as Greta and brought some great tension to the stage, especially when there was a slight sinister incestuous moment.
The production is lyrically beautiful and when there is movement its mesmerising, but unfortunately, Metamorphosis misses the mark. It lacks direction and progressive tension and ultimately, you’re left feeling this is a rather lengthy adaptation which has only focused on some of Kafka’s genius ideas.
