Skip to main content

Flash Festival 2017: Push & Shove by Crisis Point Theatre at Hazelrigg House, Northampton

Despite being a long term blogger, the alternative vlogging has mostly passed me by and I have rarely sat and watched many and certainly am not an avid subscriber of one, however the social revolution of them has not passed me by as I am very aware that many people make an awful lot of money nowadays as vlogging stars. In this Flash show Olly Manning plays one such vlogger and in Push & Shove, he has something very special for his subscribers.

To be perfectly frank, that something special is really quite simple to guess. I realised very early the contents of the ominous box that Olly's character Jared Howell presents to his audience at the start of the vlog, and it is clear very early on who is going to be on the end of the said contents as Jared goes through his pretty bleak piece to camera. However guessing does not change the impact of this cleverly put together play.

At the basis of this Flash is another issue play, this time mental illness, one which thankfully is gaining more and more recognition after having spent too long being ignored, most especially in the male gender. Push & Shove handles it with a nice touch, allowing the story to unfold in a believable way, Olly chipping away for the audience the emotions of Jared beneath.

There is a delightfully well-sung song during proceedings to music nicely played on guitar by Luke Mortimore, although this did get me wondering how we were meant to interpret his appearance as everything was supposedly done live. Was this chap sitting in the corner of the room observing Jared as he made his final vlog? It just felt strange as everything else was intuitive and being created very naturalistically by one person for his audience. Not a problem, just a little something I was unsure of.

There is also an issue of performing to a camera for a vlog for the audience within the room and this was slightly made more problematic by the configuration if the seating with audiences on two sides rather than the usual format, which could have meant it was presented front on, instead of often to one side.

However this was a powerful piece of theatre well performed by Olly, which while didn't hold much surprise (except for one member of the audience), was very well constructed and believable in its telling of a very real issue that the world needs to deal with.

Performance viewed: Wednesday, 24th May 2017

The Flash Festival 2017 ran between Monday 22nd and Saturday 27th May 2017 at three venues across the town.

Popular posts from this blog

Review of The Classic Rock Show: Top 20 Greatest Guitar Riffs Ever Part 2 at Royal & Derngate (Derngate), Northampton

By very good fortune I found myself back at Royal & Derngate (with three companions) for The Classic Rock Show and this years theme, the Top 20 Greatest Guitar Riffs Ever Part 2. Never having seen this band before, I have to say that I was pleasantly surprised by the evening as a whole although I certainly had some personal reservations. Formed from eight members it gives the opportunity to have a great deal of variety from the performances, with only two of the group not getting their opportunity at the microphone for a solo. Lead vocals however are provided magnificently by Alex Dee and Ricardo Afonso. Personal highlights from them for me was for Dee during a superbly powerful rendition of Wings'  Live And Let Die . While Afonso's take on Queen's The Show Must Go On , was an immensely strong point. I also loved their creation of Meatloaf's Bat Out Of Hell , with Dee bringing the softer moments and leaving Afonso to cover those big and bold periods. Of the o...

Review of Sweeney Todd: The Demon Barber of Fleet Street at Birmingham Rep

Sweeney Todd: The Demon Barber of Fleet Street first appeared in this musical form in 1979. Adapted from an original play by Christopher Bond, the work was set to music and lyrics by Stephen Sondheim, with a book by Hugh Wheeler. It quickly became a huge success, opening on both Broadway and the West End within a year. Following Tony and Olivier wins, the show has seen revival after revival over the years, as well as a musical film starring Johnny Depp. Now, Birmingham Rep presents its own pared-back version of the show, featuring some big stars of the theatre world. So, the question is, is Sweeney Todd as razor-sharp as it once was? What is clear to all at the outset is that director Joe Murphy, also artistic director at Birmingham Rep, has assembled a remarkable and bold cast for the show. Leading as Sweeney is Ramin Karimloo, whose bio speaks for itself and is the biggest draw for this show, especially for theatres outside London. His Sweeney is a perfectly brooding affair, broken...

Review of Annie at Milton Keynes Theatre

Annie was first performed now a remarkable fifty years ago at Goodspeed Opera House in Connecticut, and since then, the tale based on a 1920s comic strip and adapted for the stage by Thomas Meehan on book, with music by Charles Strouse, and lyrics provided by Martin Charnin, has become a perennial favourite across the world. Indeed, this version, directed by Nikolai Foster, last appeared at Milton Keynes Theatre in 2023. So, after all these years, does Annie still have that appeal? Set in  1930s New York during the Great Depression,  Annie  follows the life of an orphan abandoned to the care  of its evil matron, Miss Hannigan. Annie seeks escape, and after one failed attempt, she finds herself the chosen Christmas guest of billionaire Oliver Warbucks, and things slowly, hopefully begin to improve for the little but fiercely strong Annie. Leading the adult cast for this tour now as the cruel Miss Hannigan is Claire Sweeney. Sweeney clearly revels in the chance to embr...