After The Applause

REVIEW

A HAUNTING STUDY ON THE FUTURE THAT LEAVES THE AUDIENCE ON THE EDGE OF THEIR SEATS TAKES THE STAGE AT THE ROYAL COURT...

More Life is billed as a Dystopian, Gothic Horror Play focusing on the advancements of technology and people's addiction with needing extended lives, to be eternal essentially. It sounds like a fascinating concept and in such a small theatre it may sound a challenge to take such a subject and captivate the audience but Kadinsky theatre company and this small group of actors certainly grasp the audiences imaginations, enhancing all the beauty of Lauren Mooney and James Yeatman's ever twisting, complicated script and putting on a superb production!

Upon making your way into Jerwood Upstairs you are greeted with Shanko Chaudhuri's intimate and brilliant set. The are microphones darted around the place, holes in the walls, various lighting rigs dotted around the place. Paired with Zac Gvirtzman's distorted, twisted music you are certainly greeted with a Gothic atmosphere.

The actors make their way onto stage and we are immediately plunged into darkness. Lighting is something ,i always say, is important for a play to succeed, with the right lighting you can convey the feeling of the play even without any sort of direction. Ryan Joseph Stafford designs absolutely sensational lighting, some of the best I have seen. it works so so well and it really helps the story flow and works well with the twist that they have taken in presenting the ensemble cast.

I have to say the writing is fantastic, there are never any plot holes left unfilled and all the characters are accomplished and fully understood throughout the course of the play. The themes it tackles are hard hitting and make you reflect on the future and what could happen, whether Mooney and Yeatman's idea of 'More Life' could actually become a reality..

The whole cast are super, they multirole, they make shapes with their bodies, they create an eerie gothic soundscape to begin the play. You can see the bond they have and together they bring their individual characters to life. Marc Elliot is our futuristic frankenstein attempting to resurrect the mind of Bridget (Alison Halstead), these attempts are realised beautifully by our ensemble via use of microphones and physical theatre.

MY VERDICT:

This new play is super, it's a message of hope and of warning to the future and whilst it is warm and wildly interesting it haunts you as an audience member. Mooney and Yeatman's plot is brought to life in spectacular fashion with direction by Yeatman himself but mainly by this sensational cast!

My standout performers are Alison Halstead, Tim McMullan and Danusia Samal

I booked very early for this show. Almost a year ago did the Old vic announce that they were putting on a production of Oedipus with Rami Malek and Indira Varma and as a massive fan of Malek in Mr Robot and his OSCAR Wining performance in Bohemian Rhapsody it was a must watch in my eyes. But this production felt lethargic and times with its bursts of action short lived and whilst Malek and Varma rule the stage it seems as though the Greek Chorus' of energetic dancers steal the show...

The stage is dark when you enter the Old Vic, it does represent that feeling of the drought quite effectively and as the audience come in we see Maleks eyes projected becoming clearer and clearer. Suddenly Hofesh Schecter's music blasts the walls of the Old Vic and his incredibly talented dancers begin their flurry of movements mimicking the desperation of the people of Thebes. The music is a mix of techno along with sort of religious chants and the dancers are incredible. These first 15 minutes were a joy to watch

We see Malek emerge from the dancers and begin his performance, he commands the stage and has the presence of a king. His interpretation of King Oedipus could be concerned unorthodox however for me it worked well with Hickson's less poetic and more modern script. However this is where my problem starts with this production, whilst Malek had only been on stage a matter of minutes we are suddenly whisked into another dance. Whilst I can't complain at the quality of the choreography it sometimes felt mistimed for the pace of the action.

Tom Vissers lighting is absolutely remarkable and the illumination of the convulsing shapes of the dance troupe is just superb. This paired with Rae Smiths set mean that the stage is presented perfectly and fits the costume as well as the script!

Malek and Varma are a real power couple in this play, taking the material written by Hickson and producing a powerful portrayal of the scene of realisation. Hickson's script is a very well worked retelling of the story however I wish that there was more of it in exchange for less dancing.

I can't complain about the ending however, the mixture of dance, sound, lighting and acting was spot on and left me feeling rather emotional as Antigone led her blinded father to safety.

The Hofesh Shechter Dance company are truly superb at what they do and are a fabulous Greek Chorus displaying the desperation and hope of the Thebian People.

There is also good performances from Nicholas Khan and Cecilia Noble as Creon and Tiresias.

MY VERDICT:

The production design is superb however the whole putting together of the play feels like they've mashed a dance show and a play together and it was a bit like marmite sometimes i liked it sometimes i didn't. Malek has had his critics however he acts well in this play alongside Varma who is always excellent on the stage (Present Laughter).

My standout performers were: Rami Malek, Indira Varma and the Hofesh Shechter Dance Company.

Oedipus is playing at The Old Vic in London until the 29th March and I would only recommend if you are a fan of physical theatre/dance as there is a lot of it!

I have seen a lot of productions put on by the National Theatre over the years, and they are all of the highest quality. However this revival of Oscar Wilde's classic and renowned farce may be one of the best productions I have ever had the joy of seeing.

I always worry when I see that a show is completely sold out before the previews, it seemed like getting a seat for The Importance Of Being Earnest was the hot ticket of the west end (and the previews hadn't even started yet!)

I got into the auditorium and was greeted by this humongous and extravagant set that seemed like it had been ripped out of Bridgerton and plonked onto the Lyttelton Stage. The suspended handbag in front of the opening curtain also got some chuckles from the arriving spectators who got the reference. As the curtain rises we see Ncuti Gatwa's Algernon sat at the piano in a pink dress (which got some cheers from his fanbase present), we see the portrayal of one of the central themes of the play- that of the double life. I have to say that Webster's decision to turn up the campness of this play from around a four to a ten is a superbly successful choice that really does make the production unique.

I am such a big fan of Ncuti Gatwa, he is an incredibly talented performer who brings his own twist to every role he plays. His portrayal of Algernon is splendid, an upper class young man who will not be constrained by the barriers and order of society. His on-stage bromance with his friend Jack/John Worthing, played by the hilarious Hugh Skinner, is very comedic and they play off each other very well. Hugh Skinner seems perfect for the role of Jack and he completely steals the show in certain scenes mostly due to his clever comedic expression and over exaggerated gestures. Ronkẹ Adékọluẹ́jọ́ is a joy to watch as Gwendolen Fairfax, especially toward the end of the play as it seems she grows into the role and some of her facial expressions had me howling with laughter. Eliza Scanlen plays Jack's ward Cecily and she plays it excellently as well, the characters childish remarks pair well with Scanlens portrayal and her ad libbed line in the final scene received riotous laughter!

Then finally is the amazing Sharon D Clarke as Lady Bracknell, I love their choice to have Bracknell with a carribean accent as it truly does make some of her already iconic lines even better! Everything from her posture all the way to the way she walks onto the stage to introduce herself to the audience is perfect and the whole audience knows it too with a loud cheer to greet her as she comes on stage.

I almost forgot to mention Julian Bleach's masterclass in physical comedy as Merriman and Lane (he was also an audience favourite) and Richard Cant and Amanda Lawrence's unashamedly awkward relationship as Reverend Canon and Miss Prism. All three deliver superb performances to accompany the main cast in this comedic triumph.

MY VERDICT:

As the curtain rose and the actors came out I was in absolute awe of what I had watched. I was worried that some of the jokes would fly over my teenage head but was delighted when they slapped me right around the face and left me giggling the entire performance! The National Theatre have managed to assemble the perfect cast, who compliment each other in every possible way and completely deserve the sold out run that they have received.

Max Webster's direction steers this revival in the right direction completely, alongside the lavish set and costume of Rae Smith. It is a brilliant production that will live long in my memory!

Whilst I wish I could name them all my 3 standout performers were Ncuti Gatwa, Sharon D Clarke and Julian Bleach

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Slava's SnowShow has been delighting audiences around the world since 1993 with its perfect mixture of wit and special effects delighting all ages. It last graced a London stage in 2017 at the Southbank centre where 8 year old me was left completely transfixed by its creativity and strokes of genius! I was so excited to see Slava had decided to steer his show back to London. But did it disappoint a second time?

One thing that is not talked about enough with Slava's SnowShow is the delightful soundtrack. As soon as it began playing I suddenly remembered it's jubilant motifs, and the more I listen the more I have to applaud how perfectly it accompanies the performance (sound is credited to Roman Dubinnikov and Slava himself).

We begin with a large red pulsing light as the lights go down, and then are greeted by 74 year old Slava slowly dragging a rope onto the stage, the lights are low and the audience actually find themselves feeling very sorry for Mr Slava in his yellow attire and red scarf. However with one tug of the rope another clown is pulled on stage and the clowning truly begins! The cast are all insanely talented at what they do, with their over exaggerated gestures and their precise knowledge of what an audience likes to see. It is bonkers and fun, with no sort of storyline but more a set of sketches one after another, set in the midst of a snowy fantastical location.

From the opening scene on it is non-stop laughter, with some gasps for the incredible stage effects that we witness. The scene where we see one of the yellow clowns (Slava's protege in the show it seems) playing with a ball and a stick is just simply captivating. It is what makes SnowShow so good; the act of doing something basic but making it so remarkably impressive!

Normally a curtain will fall for the interval, but not for Slava. Instead a large cobweb is dragged from the stage to cover the entire audience! It is thrillingly exciting as you pass the cobweb to the person behind you and we are all encased!

The interval is always fun (Top tip: stay in your seats! forget that ice cream) as the clowns climb their way over the chairs to (normally) chuck water at you or place you on the stage and chase you about (as one unfortunate lady experienced).

The second half is another whirlwind tour of various skits, with a load of superbly conducted audience participation by the friendly clowns. How on earth 10 minutes of the clowns just playing with the audience can be so captivating and hilarious is beyond me, but it is and I love it. As Slava returns to the stage we hear the sound has changed and there is a slight whistling in the air, Slava quickly starts pulling the curtains around as "O Fortuna" begins to play and suddenly we are in a snowstorm! The whole audience puts their hands in the air as snow fills the entire theatre. It is the most amazing moment I have experienced in a theatre and I laugh as even the adults look completely taken aback by what is happening. It isn't finished though as the clowns come to be greeted by a speedy standing ovation as they dispatch large balloons that are pushed around the by the audience and more bubbles and snow fill the Harold Pinter Theatre.

I see the clowns smiling and looking at the chaos and storm of fun they have created in the theatre as they stay out for a good 20 minutes to just enjoy it!

MY VERDICT:

Slava's SnowShow is an international success that has been created by an absolute mastermind in the art of clowning, there is no critique to this phenomenal show. I urge you to see it before it closes (there are still plenty of tickets available) as it truly is just a wonderful experience.

My standout performer was everybody, yes even the audience and their participation!

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The Producers at Menier Chocolate Factory is a delightful, joyous, camp revival of Mel Brooks classic 1967 film and 2001 musical version with a brilliant cast, lavish costume design but a rather confusing (and often) underwhelming set

When I saw that this production was completely sold out I knew I was in for a treat. I had never really heard of The Producers before (film or musical) and decided to keep the contents of the play a complete surprise. I am unsure whether this was wise or foolish, as I soon discovered that this wasn't cheesy and American but rather a black, satirical and often borderline comedic musical spectacular! The beginning song (Opening Night) got me very excited, especially as (due to the Meniers very small auditorium) I had actors all around me.

Then we were introduced to the brilliant Andy Lyman as Max Bialystock, who (in my opinion) gave an absolutely stellar performance. He was perfectly cast, and even did some brilliantly timed fourth wall breaks, and has a lovely singing voice as well. Marc Antolin was next as the nervous wreck Leo Bloom, an accountant who plants the profitable flop idea into Max's head. Marc really grew (I think more because of Leo's character arc) into the show and received a lot of cheering and shouting for a well rounded, professional portrayal.

Now I have tried to avoid it..but I have to talk about the show they decide to use as their flop for Broadway, when you haven't done any reading up on the show this can really shock you when they announce the title (as it did to me). They select 'Springtime For Hitler" written by the eccentric feurer super fan Franz Liebekind. I think that the show deals with this topic well, they clearly make sure it is right on the borderline and I feel it never spills over into insensitive and rude. Harry Morrison is the perfect Franz, his German accent is perfect and the stance and voice made it very funny. They select the director Roger De Bris (played by Trevor Ashley) and cast the Swedish actress Ulla Swanson (Joanna Woodward). The building of the play is utterly hilarious and I found myself crying with laughter, especially at Franz and Rogers comedic introduction scenes into the play.

Act 2 lets us see the monstrosity of Springtime Over Hitler, with its golden bratwurst and pretzels and Roger De Bris as a Hitler that arrives in a golden chariot and covered in flowers. This part of the show was hilarious, it's rare to see an audience laughing in unison. Then the dilemma, as the show goes from comedic to quite serious, when the show doesn't flop but it flies! We see a worried Max Bialystock go to jail and the nervous Leo steals his dream and flies to Rio with Ulla. This is where the set lets this production down, it was simply a scaffolding set adorned in lights. meaning that the transformations from theatre to office to rio, where underwhelming and bland. It is a shame but I do feel most of the budget went into the amazing costumes and the hugely detailed props.

As the play ends with the delightful finalé, I fly to my feet to begin the Mexican wave of people rising to give it a well deserved standing ovation.

MY VERDICT:

The Menier Chocolate Factory put on a lovely production, whilst extremely topical it is very clear why the producers is popular. I wouldn't say its contents are for everyone but if you enjoy black comedy and musicals, this is the perfect show for you!

My stand out performers were Trevor Ashley, Harry Morrison and Andy Nyman

⭐⭐⭐⭐

Here are the shows I will be seeing in December and January...

December 21st- The Producers at Menier Chocolate Factory

December 28th- Ballet Shoes at National Theatre (Olivier)

December 28th- Slava's Snowshow at The Harold Pinter Theatre

December 31st- Stranger Things: The First Shadow at Phoenix Theatre

January 4th- The Importance Of Being Earnest at National Theatre (Lyttelton Theatre)

Hello everybody and welcome to After The Applause. This blog is about all things theatre and more specifically will be a site full of reviews on a variety of different shows.

My name is Charlie and I am theatre obsessed, I have been acting from there age of 4 and go to the theatre almost every other week. From very young I used to be obsessed with rating and ranking the shows that I go see, and now I am excited to be able to write my blog and display my opinion.

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Thank you (and have a great Christmas!)