A Small Mind At The Theatre

The Nubian Sky starring Shemelia Lewis was one of only two solo performances at this year's Flash Festival, and this exploration of what it is like to be a black woman now generally was a success, but in need of just a little more tightening up, and indeed exploration. There are some strong moments here, from a youngster watching a quite remarkable cartoon from 1941 (Scrub Me Mama With A Boogie Beat), onto a schoolgirl in trouble for her hairstyle being distracting, and then the most bizarre TV show centring around whether a domestically abused housewife should get justice or not, we of course say yes, the show says no. It's a surreal and quite stunning collection of observations which are tough viewing of course. Unfortunately, The Nubian Sky doesn't really take anything anywhere, there is, no exploration, it's just generally a basic collection of anecdotes of shocking occurrences, with no depth given. Despite this, and most vitally though, Lewis is an excellen...

Solo pieces at Flash have quite a checkered history, one of the very best Flash shows I have seen was a solo one, however, many of the worst also were. They have the balance of either a performer getting everything right, for both the audience and themselves or as sometimes happens, a single person running wild with limited reasoning and it ending in a crash. The Way from Louise Akroyd and her Cosmos Theatre Company gets, fortunately, everything pretty much right. We meet her character Vicky strewn across her bed, after a very heavy night. Her makeup still on, mostly in the right place. After a distraught and comical search for her phone, she discovers news from her mother that her childhood friend has cancer. A rift has been between them for years, but is now the time right to seal it? The Way is simple in every way, but that is how it works so well. This is about whether you deal with something that probably wasn't anything in the first place to rebuild bridges before it...

Making their Mark is created and performed by Hannah Bacon and Amy Jane Baker, otherwise here known as Face To Face Theatre Company . The "making their mark" reference in the title, here isn't about a woman becoming more relevant to society specifically, but here with the case of Baker's character, the need to bring a baby into the world. The feel that this is what a woman's role might be for some, and with her character, the inability to do so. It's a surprising approach to a female-led show, and fascinating mostly in its creation. At only thirty minutes, it isn't particularly long, but in that time, Baker exudes great emotion from the audience, while Bacon, as a collection of other characters, helps to move the story. Both perform the piece excellently, with Bacon as a rather overplayed (in a good way) Made in Chelsea like work colleague, and onto a rather clinical doctor, and also as the slightly annoying, has it all (in the child sense), sister. ...

At some point, a regular audience member of Flash Festival needs a show that lightens the mood completely, as the trauma of themed issue shows can take its toll no matter how good they are. So, step forward Oh Arthur , a combination of some of the best moments of comedy and setpieces perhaps yet seen on the Flash Festival. I might have to hark back to the exceptional Sell-By-Date in 2014 to find a more consistently funny offering. Arthur is a layabout, a generally useless creature, bringing nothing to the world. In his wake are the victims of his inability to even attempt life in a good way, so, here is his mother, his girlfriend, his best mate, and others, dealing with him and his horrible behaviour. So, what's to like about a show with a person with no endearing features. Oddly enough, the superb performance of Simon Roseman and the intricate scripting make him likeable, sort of, in a way we like David Brent, well a little. It makes the unlikeable likeable in a devilish way...

I suppose it shouldn't have been a surprise that The Railway Children from Looking Glass Theatre was an awfully old fashioned and really rather quaint show. I know that at some point in the dim distant past I saw the original film version (all Jenny Agutter and "Daddy" etc), as I think definitely every one of my age will have seen that. However, the fact that of the audience, staggeringly only three were children suggests a little to me that the audience was either family and friends of the performers, or older people reminiscing over the story they remember from their younger days. I have to confess that I didn't remember much of the story ahead of seeing it, however, this adaptation from James Smith (who also directs) based on the Edith Nesbit original brings the story and characters to life in a compact seventy-minute version. As has been common from recent years, the cast is formed from recent graduates of University of Northampton BA Actors course, all famil...

I generally steer clear of pantomimes in general, but have inherited a few people and groups that I feel the need and am generally happy to support through thick and thin. Hence following my trip to Duston Players earlier in December, I found myself back at the annual Looking Glass Theatre's pantomime at St Peter's Church a week or so back (this is a heavily delayed review). Looking Glass do none showy traditional family pantos, there are no awkward moments here of the adult squirming over whether that joke was too near the knuckle for little Johnny sitting next to you. There are though always jokes for the grown-ups, but not in the adult nature, just occasionally newsworthy stuff, and this time among others we had the rather timely Baron Le Brexit as the baddie. This is the third panto I have seen from Looking Glass and without criticism of the previous ones, this is the best. It's a more solid presentation and perhaps most importantly wields the best quartet of a cast...

More possible years have passed than I wish to imagine since my last encounter with Kenneth Grahame's classic tale of the adventures (or misadventures) of a collection of lively, disturbingly human like animals. However as I watched James Smith's new stage adaptation of the tale, many things came swiftly back to me. Here was the classic messing about in the river line, there was the famous "Poop! Poop!", and there was Toad pretending to be a washer woman. The whole thing was pretty much back, if a little abridged to fit into its seventy minute running time. That is not to say that this is a straight adaption for the stage, as it is at times more like a pantomime version of the story (albeit one without any "he's behind you!" business) in its absolute silliness. This is much in keeping of what you tend to get from Looking Glass in any case, a relaxed telling of a classic tale. It's what they are best at and it is very much not broke, so why try to b...

For two previous years the Flash Festival had been a highlight of my theatre year. Full of energy, invention and talent, the University Of Northampton BA Actors students had created many a magic moment. So once again I was back at the brand new locations for 2016 for six days and thirteen shows of entertainment in the company of fellow "independent reviewers" Mudbeast76 and new recruit The Real Chrisparkle . The first thing that must be said about this years Flash was that of the three I have attended, it was significantly the best organised. Our five event organisers, Vicky Cooper, Aisha Ruth-Francis, Lucy Taylor, Daniel Gardner and James Broomfield were without doubt more organised and enthusiastic than any previous ones, and more importantly they had the stamina for the whole week. This coupled with a much improved schedule over the previous year, a better website design, more busy hub space and the impressive videos that were recorded made this without doubt the best y...

The wonderful Amber Mae was quite an enigma within some of the University shows, portraying often the silent element of proceedings, especially in Orientation where she provided a song for us but little else verbally. However she spoke perhaps like few others with her movement and facial expressions, despite often being silent, she was frequently the centre of the eyeball for the audience, busy flitting around. So for her Flash performance, a solo one was a dream ticket. One to finally get to see her in full swing to do what she chose. It is true that for much of the first few minutes as we sat watching Amber sketch and paint that I thought she was not going to speak again. We sit in the basement of Hazelrigg House (one of two Flash shows to take place entirely there) and we learn that this is a special confinement location for people to partake in creating art. Something that has been banned in the outside world. They are however not permanently confined, this is a place that they g...

Clowns. We hate them or we love them (if you are really weird). I am not particularly enamored really (although I am weird). So a Flash show based around them, what would there be to like? Not a lot I would imagine. However in the hands of Two Funny formed of Cynthia Lebbos and Benjamin Williams, they are really very appealing. It helps that this is more silly behaviour than strange noses and big feet. This is a sort of Mr Bean situation, but with a modern edge. Indeed Benjamin reminded me a great deal of Rowan Atkinson during the show, full of the awkward social problems, bizarre pulling of faces and tremendous physical ability, literally bouncing off the walls at times. Both characters are magnificently cute and endearing as their burgeoning romance over reduced bread and cheese slices develops. It helps also that this is the most interactive of all the shows as nearly everyone in the audience gets involved at some point, if only to have their hair stroked or a peg put on it (the...

Much like Sell-By-Date in 2014 took death in it's many guises and made a dark comedy with wonderfully dramatic moments, The Show Must Go On takes cancer and creates a piece much like that Flash classic. Devised by Penelope May, Jake Rivers and Madeleine Hagerty, who between them are Lead Feather Theatre Company, this is without doubt the most emotionally dramatic play of the week. It centres around Alice (Penelope) and an illness that we eventually learn is cancer. Around her are her brother Ed (Jake) and her friend Sally (Madeleine). The piece is handled with a deft and adult style throughout much of the play as Alice's condition worsens. There is also a tremendously strong subplot as well with a husband and his cancer affected wife. The husband played by Jake delivers a particularly brilliant and challenging stand-up rountine (shades of Sell-By-Date once again) that builds from guilt laughter from the audience to eventually silence as the tone of the jokes deftly changes....

The Final Cut by Elizabeth Adejimi (LaZénna Theatre) stood out early in the announcements of shows for this years Flash as the one that initially felt was going to be the hardest to view. Knowing enough about the subject matter of Female Genital Mutilation+ and understanding the absolute barbaric nature of the practice did make it sound that it might be a traumatic viewing. I probably felt that it was a subject that I felt I could do little about and really wasn't sure I wanted to sit through a forty minute exploration of it. I was wrong though, as while this does become really difficult to experience at the important ending of the play, Elizabeth creates a living world to tell the story first in a vivid and entertaining way. Told through a variety of characters it appeals at first, before it finally appalls. The main character of the young lady is magical and inspired, the large eyed innocent girl, staring up at her seniors, fond of stealing a snack or two and exchanging comic...

Over the last couple of years the National Theatre Connections plays have become quite a favourite of mine. They are short snappy forty to fifty minute plays by often well known writers and are designed purely to be performed by youth theatres. This year locally there are to be 21 youth theatre performances of the twelve plays for 2016. The location venue for this batch will Royal & Derngate at the end of April and just into May and I myself shall do my very best to see as many as possible. However on Saturday I had the pleasure of seeing the very first preview of Gargantua by Carl Grose by the Looking Glass Theatre in their wonderful performance venue of St Peters Church. Last year I happened to see another piece by Grose entitled Stay Brave, Brian Gravy, which was a tremendously challenging piece for the even younger performers. This was to be quite a bit different. The performance itself was very much in its early days with an acknowledged number of issues (not least som...

I arrived at St Peter's Church for Looking Glass Theatre's Sleeping Beauty slightly jaded and apprehensive for my third pantomime of the season. However I always love to support this little theatre and this years show had the bonus of having a quartet of those magnificent University of Northampton students that I get great pleasure in also supporting. The four on this occasion were Matt Larsson, Tara Lawrence, Nikki Murray, Ashley Thomas Sopher and they made a quite excellent and youthful quartet and showed surprising skills in the challenging art of pantomime (no doubt very useful to have on the CV). Tara held the obvious affinity for working with children following her Flash Festival success the children's storytelling show and she has that quietly gentle style that offers no menace. Here she was once again joyful and even as a baddie in the second act remained playful. Ashley was quite a revelation as the dame of the show, playing up the part with glee and doing everyt...

I first saw Killed by the Looking Glass Theatre in its first incarnation by the company in July 2014. Last weekend I had the pleasure of seeing it in its third version at their new home of St Peters Church. Also new were the cast and unlike that first version, I was familiar with each one of them as all five were the University Of Northampton BA Acting graduates of 2015. Both a masterstroke of casting and a huge extension of kindness of the theatre to give them all these roles. It was also visionary of them as unlike that first version (with all due respect), these actors were at the very point of their lives to play these roles like no other. All maybe within a year perhaps of the actual characters featured and with the world ahead of them. However sadly these characters portrayed lived in a more terrifying world (although many troubles still remain) and some had no lives ahead of them. Leading the cast as Billy Dean is Dale Endacott, a recruit who finds himself through a terrible...

Last year in my review of the Ghost Walk I made it clear that I wasn't the biggest believer of ghostly apparitions. So I returned for more this year, not to be swayed into a believer, but to experience the best part of last years walk, the historical information. Rather thrillingly (and I take no credit. Or do I?) the ghost walk had not only dispersed of the slightly incongruous theatre performance filler, but also upped the ante on the history lesson. While ghosts were still of course on the menu (poltergeist stew anyone?), this year we also had the chance to learn a great deal more of solid historical information about the main four venues we visited. Our tour began at St Peter's Church, were we learned a little about the history of the place and who was buried there. We also got a chance to explore in the dark for a few moments. The church itself is an amazing building and it is a shame that is has been so rarely used for the last twelve years. Howe...

And so the next generation of the Looking Glass Theatre begins, lifted gracefully from its former home and planted into the arms of Hazelrigg House and its performance space the glorious St Peters Church. The move is complete and there is perhaps nothing better than a light, fluffy and fun reinterpretation of oft told Sir Arthur Conan Doyle tale The Hound Of The Baskervilles to begin. Created as some sort of chaotic amateur dramatic performance with a feel of Sherlock Holmes does Pantomime, this is indeed a silly entertaining feast. A cast of just three coping, mostly, with all the roles of the play adds frequently more chaos. Our cast are in no particular order Marvin Freeman, Alex Rex and Katy Corrie. I was sure when I saw the original cast that Freeman would absolutely be Holmes, however this throws a curve ball with Rex as the famous sleuth. It is appropriate though as anyone aware of the story will know that Sherlock is actually quite absent for much of the story of the Baskerv...

I had sadly missed the dressed rehearsal for my debut as theatre mover extra and therefore arrived for the opening performance on Thursday 30th July lacking in both knowledge of where to stand or what my lines were. It was fortunate however that, while boxes had been packed and clothes rails had been filled, there was to be much improv involved with the performance. Upon my arrival to the stage the performance had begun, with director James Smith marshaling his company of Jasper and Sam. The show itself began with little originality as I fell into my role with the rest of the performers of moving box to van, box to van, box to van. You get my gist? The main bit of excitement of the first act came from these chaps: Never could you have possibly dreamed of finding more clothes. Also never could you have imagined how troublesome at times the innocent rails could be become. Be it their too small wheels, falling apart frames or simply being too tall for the world they surrounded...