Skip to main content

Review of O,FFS by Ytho? Theatre at University of Northampton (Avenue Campus)

Sneaking out one afternoon to finally get a chance to catch O,FFS by Ytho? Theatre turned out to be a very good decision. Having been performed beyond the realms of Northampton, at the Edinburgh Fringe no less, this show landed finally at it's "home" this week of the University of Northampton, home, because this group is made up of four graduates from the University BA Actors course. It also was a landmark for myself, seeing for the first time a brand new show created purely by a group of actors consisting only of those that I had seen graduating. It was nice to see that they were doing good!

The best word to describe O,FFS is sharp. It sums up the pinpoint accuracy of delivery from the four actors, of this fast-paced, clinically constructed piece of theatre, there is no flab around this comedy. Set in the offices of a children's charity, we have some typical office staff, the supervisor, the IT guy, and specific to the charity world, the chuggers manager. Throw into this a brand new temporary office manager, and the scene is set for a creatively clever, he said, she said, series of event.

Most of the scenes of this comedy are broken down into the perception of how each of the actors sees the same events and more amusingly one another personas. So, we have supervisor Gail (Jessica Bichard) perceiving IT guy Ben (Liam Faik) as a repulsive awkward guy, while the reverse sees Ben see Gail as a Putin style overseer (which allows Bichard to bring us a very impressive Russian accent into the mix).

Performances are, as expected from this exceptional group of young , superb. Aoife Smyth gives a brilliant abrasiveness to one part of her character, all gangster like, while also channelling some brilliantly funny sequences of double entendre and extreme sexual tension in the scenes within Faik's characters mind.

As is the nature of this play, huge skill is needed by the performers to give sufficient difference to their characters, while remaining some semblances of similarity. Faik brings generally two great switches to his, either totally in control, or a flimsy remnant of himself as his becomes this obscene and grotesquely hideous creature in others eyes.

Bichard beyond her brilliant "Putin" role, brings great control of her environment to the piece. Of all the characters, hers is the most normal and in charge. However, in this play that means still gloriously crazy. I also absolutely loved the sequence where she voiced Aoife's actions as well, capturing quite eerily her delivery and voice.

Finally, Helena Fenton turns in an epic performance as chief chugger Angela, channelling everything that Julie Walters laid on screen during her time with Victoria Wood and beyond, it is both a brilliant vocal and visual performance. Some of her expressions throughout this piece are simply hilarious. A blooming comedy actress very much.

Sharp also applies to the structure of this play, scenes are quick and slick, with some stunning use of blackout and rewinds of scenes delivered crisply by the performers.

It all culminates in creating a fast-paced comedy full of thrills where time flies, it is much longer than it feels watching it, probably the ultimate praise you can often offer a show. It never drags, is always funny, and its nothing short of exceptionally performed. It hits London in December at Tristan Bates Theatre, and if you are in the area, you should definitely put it into your diary.

Performance reviewed: Wednesday 24th October 2018 (early matinee) at the University of Northampton (Avenue Campus), Northampton.
O,FFS returns to the stage in December in London. Details here: https://www.tristanbatestheatre.co.uk/whats-on/o-ffs

Popular posts from this blog

Review of Lord of the Dance at Milton Keynes Theatre

On what was so far the hottest day of the year, and the highest in many a record book, it feels a tad evil to watch as a group of extremely talented performers bring to the stage one of the most famous and most energetic dance shows to tour. However, arriving now at Milton Keynes Theatre, as part of what is now the still rather immodestly titled 30 Years of Standing Ovations tour, Lord of the Dance remains full of energy even on the hottest of evenings in Milton Keynes. I last and first saw Lord of the Dance as part of the 25 Years of Standing Ovations tour, four years ago (yes, the sums don’t quite work), and it was every bit as spectacular as you could imagine this world-famous dance show is. Born into the world from Michael Flatley and the Riverdance spectacular that preceded it, Lord of the Dance is a simple but effective battle between good and evil and the resolution of it through dance rather than fighting. The dancing here is, as expected, exceptional, led by the Lord of the...

Review of making second Kontakt with the R&D Youth Theatre at Royal & Derngate (Underground), Northampton

As I said in my first Kontakt review, I wasn't really sure that I wanted to see this show. However come Sunday and a second opportunity to see it, I was genuinely looking forward to it. With the show now having departed, for my second review I will elaborate a touch more on happenings, which initially I shied away from as spoilers. My actor for my second encounter was 15 year old Michael. He had the enviable task unlike Michael before him of dealing with someone who knew quite a bit of what was coming. As those surgical gloves went on I this time was certain that the R&D were not going to overstep the boundary and do a full medical. I had also learnt that a crisp sandwich was something that should be left in the memory, so cheese was a much more sensible option. I was able to complete the calculation generally unaided and managed to express an exaggerated shock at the latter outcome. The game of Jenga managed to stay stable once again and rather amazingly managed to bring t...

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...