Skip to main content

Flash Festival 2018: Out Of Shot by Periscope Theatre at Castle Hill, Northampton

In April this year, the first woman was convicted following a new domestic violence law introduction, and it couldn't, therefore, have been more timely to have seen this devastating performance from Periscope Theatre. As although at first, preconceptions suggest we are watching a man's abuse of a woman, it quickly transpires that Out Of Shot has tipped the scales in the opposite direction.

What flagged it up for me, and probably for many in the audience, was a burn from an iron. Innocent enough, but enough to bring to my mind that we were to see the less acknowledged side of domestic abuse. From this moment, Out Of Shot began to turn into an extremely intimidating piece of drama, tense and disturbing. At the helm was a tremendous and extremely scary performance from Grace Stewart Hogg as Siena. Hogg was simply incredible spinning the innocence and sweet nature with a heavy suggestion of being the victim in the police interview scenes, and turning that on the head with the private home scenes of violence towards her partner Andrew (Robert Barnes).

These scenes are so well created, lurching from a calm to a destructive nature, the scene that creates the definitive switch where Siena strikes Andrew to the ground is an amazing moment. The tables are thoroughly turned at this point, and the whole piece disguises nothing more from its audience, as we see everything that Siena controls, from who he sees, to where he goes and to what he spends. This whole piece becomes an increasingly tense journey with every moment.

The secrets are still hidden in some brilliant scenes of calm, alongside the interview sequences, a scene between Hogg and Zoe Elizabeth as her neighbour (one of three characters she plays extremely well in the play, including Andrew's sister Emily), is so finely balanced. Believable and calm in every way and beautifully, but frighteningly played.

The Out Of Shot of the title comes from a clever idea where Andrew sets up a camera to record what is happening to him. It's curious you might think that this should happen if he is so much into the fact that he is being abused, that he would set out to film it, why would he even stay? These are the questions that only victims could attempt to answer perhaps, but Barnes plays Andrew with a definite edge of believability, he loves Siena, and no matter what, he believes that that love can get him through this.

The key sequence of the film towards the end of the play, while not quite perfectly timed, really is a fabulous piece of theatre, the two worlds of film and live action merging together, to allow us to view the "out of shot" crucial action. It's brilliantly created and prepared, and most importantly, extremely believable.

Out of Shot is superb, there is no question on that. All the cast are excellent, although Hogg stands out for the menace of her performance. After a week of admittedly being the downtrodden sex in the Flash Festival (which I guess, is fair enough), it was nice to just get one tilt the other way. Quality theatre, excellently performed.

Performance viewed: Thursday 26th April 2018

The Flash Festival 2018 ran between Monday 23rd and Friday 27th April 2018 at three venues across the town.

Popular posts from this blog

Review of A View from the Bridge at Royal & Derngate (Royal), Northampton

Although writer Arthur Miller died 15 years ago, and last published a play almost 30, he remains a force to be reckoned with, and you are probably still never far from production of one of his works, albeit one of probably just four from his back catalogue of 33 plays. If you pressed someone to choose his best, they would probably more often than not say The Crucible , because A: they studied it, or B: they have actually seen it. As for best though, maybe not. Perhaps that lies with the simpler format of A View from a Bridge , the gritty tale of immigration in the fifties. So, does this new version, a co-production between Royal & Derngate and York Theatre Royal, do it justice? In 1950s New York, hardworking longshoreman Eddie Carbone lives a simple life with his wife and niece deep in an immigrant community. When two of her Sicilian cousins arrives, slowly Eddie's life begins to change forever. In a theatre world where life is rarely simple anymore and directors of...

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...

Review of UoN Fringe 2019: Working For The Man by Naked Truth Theatre at The Platform Club, Northampton

When looking at the prospect of the Fringe performance Working For The Man , it is slightly difficult to work out who is the bravest person involved in this remarkable one performer, one audience member show set totally within or around the edges of a car. I guess I would in my case, say myself, but it takes some daring for performer Ellie Lomas of Naked Truth Theatre to also create a piece that offers the boldness that it does. Working for the Man is perhaps unsurprisingly about the sex trade, and explores exploitation and how, or if, prostitution is taken as a serious profession. It involves no live audio dialogue from performer Ellie Lomas, instead, she inhabits a purely physical performance, that is progressed by the use of a pair of headphones which you are given at the start. Across this audio are instructions of what to do. "Get in the car", "sit in the middle seat in the back", "open the glove compartment" etc, as you move to different areas ...