Skip to main content

Review of UoN Fringe 2019: Exposing Inequality by Unseen Truths at The Platform Club, Northampton

Performer Jessica Harding opens her Unseen Truths production Exposing Inequality with a direct monologue to the audience where she explains that this is a show about, unsurprising, inequality, much centring around that vital turning point, the Suffragette movement. In this opening piece, she says something along the lines of this isn't just another boring show about this subject, and her intention is to make it all the more different. It is a dangerous thing to promise something like this, as it sets out all sorts of hopes for an excellent show.

Sadly this genuinely entertaining opening, spirited and enthusiastic delivery from Harding, is pretty much the best part of the show. Although, Exposing Inequality is far from no merits at all, as there are some excellent ideas here which just needed a little more refining to make them work.

The bulk of this show centres around Leicester Suffragette Alice Hawkins and takes her job in a shoe factory as another idea for the play. Throughout the play, across the front of the stage are several pairs of shoes from through the ages, and these provide an inventive, but not totally successful, theme for the show.

Alice's story is fascinating, most Suffragette ones are, and Harding is excellent in the role, nicely judged, and innocent enough initially to let the boldness grow in her as she gets older (starting point of 7 years old) and her involvement grows. The shoes are the guiding light for the piece and as well as costume changes, tell us where we are within the story.

However, one particular scene where the shoes are used, while extremely clever in idea (Harding wears the shoes on her hands to represent a conversation at a socialist event), is poorly executed, causing delays when Harding is standing up and sitting down. A possible solution to this issue would maybe have been to have performed the piece on a raised table, making it both easier for the performer and audience to see.

There are a few other issues as well, there is a nice physical piece used during the play, but it becomes repetitive quite quickly and is repeated once again later to much less impact as a result. Other ideas would have provided much more depth and freshness to the show. Other issues are apparent early on when far too much detail is gone into, and too much dialogue, the statistics scene, far too early in the play as well, is both dry and sadly therefore boring, and also the addition of the BBC reporter Carrie Gracie's resignation is excellent, but we definitely didn't need the whole speech to prove this point. Also, a relatively minor observation if the show was to be performed again, during the socialist scene where the ladies are surprised by the appearance of a man at the event, a picture projected at the back is of an office full of men!

All of this sounds rather negative, and I guess it is, but Exposing Inequality has a good foundation of material, and some excellent ideas, however, sadly much of it is either underdeveloped or in need of tightening up to make it a great show. Performance wise, Harding is a good performer, personable and great to watch. It is just a shame that unfortunately there were a lot of issues with much of the material within this show, it was so close to being so much better.

Performance viewed: Friday 3rd May 2019

The Fringe Festival 2019 runs until Sunday 5th May 2019 at The Platform Club Northampton, and one show at Hazelrigg House.

Details here: Fringe Festival 2019

Popular posts from this blog

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...

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 The Spy Who Came in From the Cold at Milton Keynes Theatre

The Spy Who Came in From the Cold is one of John Le CarrĂ©’s more well-known titles in his world of spy fiction, and having been adapted into a highly rated 1965 film with Richard Burton, it is perhaps surprising that it took until 2024 for this stage adaptation to appear, adapted by David Eldridge, and now at Milton Keynes Theatre. In many ways, it feels like a ripe story for a stage play, with locations and theatre folk often liking the cerebral storytelling it offers, so this should be perfect for the stage? The Spy Who Came in From the Cold depicts Alec Leamas, a British intelligence officer, being sent to East Germany as a faux defector to sow disinformation about Hans-Dieter Mundt, a powerful East German intelligence officer. However, as expected in the spy world, all is not as it seems, and with the lurking figure of the supposedly retired spy George Smiley in the background, Leamas finds things moving far from his control. It has to be said that Eldridge’s adaptation struggles...