EDINBURGH FRINGE 2013: REVIEW: All or Nothing?

Callàs Company

Greenside Venue

5 Aug 2013

runs until 24 Aug 2013

Going along to this show encompasses what I love about the Fringe. A random conversation with a theatregoer at C venues led to my and friend and I making a mad dash to see his show at Greenside on our lunch break, with very little idea of what it would be like. As it turns out, this is one of my favourite shows of the Fringe so far — funny, charming, lacking in pretension and altogether wonderful.

The concept works beautifully: two characters live in a silent world, one in the realm of imagination and mime, and the other in the realm of physical reality. They meet, become friends, fall in love. It sounds a bit too simple to engage your attention, but the characters' discovery of each other's worlds is imaginative and witty, as mutual bafflement raises many a laugh. James Callàs Ball and Jasmine Blackborow's mime is a joy to watch as the invisible, imaginary world is effortlessly brought to life through their performance, bringing humour to this light-hearted production without becoming over-exaggerated. It is, strangely, an utterly believable show despite its surreal plot.

Being only forty minutes, the show is a neat little production but should not be overlooked in the Fringe's saturated programme, being well-constructed and faultlessly performed by a talented cast of two, in a new company making its début at the Fringe. The jazz soundtrack is reminiscent of the silent movies of the 1930s, but with a fresh twist and beat which helps to keep the pace quick and light. A spot of audience participation at the curtain call means I can now say I have (technically) performed on a Fringe stage, so extra thanks must go to them for that!

A definite recommendation for theatregoers of all ages: I defy you to leave without a smile on your face.

THEATRE REVIEW: Othello

directed by Nicholas Hytner

Olivier Theatre, National Theatre

14 July 2013

until 5 Oct 2013

National Theatre Live Trailer

I'll admit it: in the past, I've struggled with Othello. Never having seen it on stage, reading it on the page fell rather short of summoning up its wrought emotion and passion that I'd heard so much about. That all changed on this Sunday afternoon. This is absolute proof of what I've always said: that reading Shakespeare will always, inevitably, miss the mark somewhat — it's written to be performed, and the cast of this National Theatre production deliver one hell of a performance.

The aggressive, pumping music that builds around the auditorium of the Olivier Theatre sets up the driving pulse of this forceful show. During the first few scenes, those audience members unfamiliar with the play are in danger of getting lost, but once the production gets into its stride you can't help but be swept along in its imperious and earthy power.

The setting of the modern military base sets up and follows through on all the vital aspects of the plot in an incredibly neat way - the comradeship that is necessary for Othello to believe Iago's lies, the violence always simmering near the surface, the marked fragility of Desdemona next to the soldiers, the importance of rank and hierarchy that provokes such envy... There is never a moment in which the play feels squeezed into this mould; rather, it seems a perfect fit. Yet at the same time it illuminates this oft-delivered script in surprising and new ways, which the cast grasp and take forward with relish, finding comedy in this tale of jealousy, bitterness and revenge. 

Adrian Lester takes on the title role with relish, delivering a stirring performances with subtleties of every feeling: forceful, passionate, brutal, pained - his emotion burned out from the stage. Quite simply, he was everything you could ask for from your Othello. Yet Rory Kinnear (as Iago) is more than you could possibly want. His staggeringly good performance steals the show, being appropriately dastardly and brilliantly two-faced; yet it is his sardonic humour that puts Kinnear's own stamp on the role, as his bitter sarcasm raises many a laugh - and let's face it, it's not a play where there is usually much to laugh about. Shifting effortlessly between smooth lies and shuddering hatred for Othello, this is a masterful performance. His on-stage chemistry with Lester was brittle with sparky emotion, but it is his exchanges with Roderigo (Tom Robertson) that show off this talent for comedy. While Robertson's rather pathetic posh-boy act may have been an easy route to a laugh, the characterisation also establishes the necessary hierarchy of power with ease.

Elsewhere, Broadchurch's Jonathan Bailey shows surprising mettle as Cassio, presenting light-hearted humour but also deep pathos that catches the audiences off-guard, as an innocent caught up in the machinations of Iago. Newcomer Olivia Vinall makes for a spirited yet suitably naive Desdemona, her girlishness standing out amongst the camouflage of the army. Particularly impressive is Lyndsey Marshal as Emilia: fiery yet nuanced, she starts off rather in the background but capitalises on her character's plot arc to blaze into the heart of the gory action in the final scenes.

The large stage of the Olivier Theatre is turned into a well-crafted set that conjures up the claustrophobic intensity of the army camp and the box like sets which glide on and off stage neatly set up the interlocking arms of Iago's plan, also helping to focus the audience's eye on this expanse of stage.

Nicholas Hynter's production may have a rather long running time, but the audience are gripped from start to finish. There is earthy, raw emotion here, but it does not lose the grandeur of Shakespearean tragedy: Hytner has struck the perfect balance with his faultless cast. The final moments capture a devastating futility as Othello finally comprehends his wife's innocence and the utter waste of life which can not be undone. Unmissable.

Edinburgh Fringe 2013: Pre-festival Picks

Photo by byronv2 under Creative Commons licence

Doesn't time fly! It's nearly that time of year again — when actors, directors, singers, comedians, writers, dancers, ventriloquists, poets, acrobats and performers of all kinds make the trek to Scotland's capital to try their luck at the Edinburgh Festival Fringe. And the rest of us follow, whether we're a part of the action, reviewing their efforts, or simply enjoying it from a safe (we hope...) vantage point in the audience. As the world's biggest arts festival grows steadily each year, 2013 will see more shows than ever gracing Edinburgh's venues: at the last count, 2871 events encompassing over 24,000 performers.

With all those options offering thousands of different emotions, experiences and possibilities, how on earth do you separate the good, the bad and the ugly from your Fringe guide? I decided to come up with a Top 10 list of intriguing, promising or exciting things from this year's festival — except, of course, there's too much to choose from so even I had to resort to a Top 15 instead. Check 'em out:

1. I Need A Doctor: The Unauthorised Whosical Adventure — Stormy Teacup Theatre Ltd./Pleasance Courtyard/31 Jul – 26 Aug/£6-11
Being a massive fan of Doctor Who and of musicals, I couldn't really ignore this one. A parody of the beloved BBC One series with songs such as 'Companion's Lament' and 'Phonebox of Love', this is possibly the nerdiest show on the programme, but looks to be providing a healthy dose of silliness at the Pleasance Courtyard this year.

2. Titus Andronicus — Hiraeth Artistic Productions/theSpace@Surgeons Hall/2 – 24 Aug/£10-12
Shakespeare reinvented can go either of two ways, but this production may be on to an intelligent restaging. One of four productions of Titus Andronicus at the Fringe this year, this particular version reimagines the action of the Bard's goriest tragedy in the midst of 1980s Britain. It's a tough play to pull off, with all its over-the-top blood and guts — but in the violence of skinhead culture, the extreme emotions that lead to all this anger, vengeance and bloodshed start to make sense, and to really hit home.

3. Austentatious: An Improvised Jane Austen Novel — Milk Monitors/Laughing Horse @ The Counting House/1 – 25 Aug/Free Non-Ticketed
Anyone who read my blog during last year's Fringe may remember how I raved about this lot — and I'm so happy to say they're back! Some of the best improv you'll see in terms of quickness and hilarity, and all Austen-themed. Austentatious manages to mock the author's stereotypes whilst showing it holds much affection for her, and based on audience suggestions they construct a brand new Austen novel every day. Last year crowds were queuing down the street to see this, so arrive early! It's lovely, and pretty astounding, to see that the show is still part of the Free Fringe, as I'm sure the troupe could sell out a ticketed event with no problems. A hugely likeable comedy group who will have you in stitches.

4. Rachel Parris: The Commission — Laughing Horse @ The Counting House/1 – 25 Aug/Free Non-Ticketed
Following on from Austentatious, many of their members are involved in other shows at the festival, including the delightful Rachel Parris. Often taking the role of naive, pretty heroine in the Austen-themed tales, her solo performance is a chance to see a wider range of her comedic and musical skills, with topics such as Disney and The X Factor on the promised list of targets. It will be great to see this talented performer showing she's got a darker side and some real bite.

5. No Place Like — Le Mot Juste/Zoo/2 – 26 Aug/£4-9
A piece of physical, verbatim theatre inspired by real-life conversations, this work examines the lives of elderly care home residents: it's nice to see that the play promotes itself as "a celebration of life", rather than presenting these places as morbid or depressing, and there is the promise of comedy as well as poignancy in the variety of memories that emerge.

6. The Pin — Pleasance Courtyard/31 July – 26 Aug/£6-11
Again, this show is no new discovery for me as I saw these guys doing their thing — with much success, I might add — at university in Cambridge. Since then they've been busy making a name for themselves with a sell-out run at last year's Fringe. However, things have changed recently as the trio has become a duo: it'll be interesting to see how this changes their act, but with their usual combination of wit, silliness and deadpan delivery, booking early will surely still be necessary for these rising stars of the circuit.

7. Boys — No Prophet Theatre Company &  Close Up Theatre/C aquila/1 – 26 Aug/£6.50-10.50
Last year No Prophet Theatre (starring Will Merrick of Skins fame) took on Simon Stephens' gritty shocker of a play, Punk Rock. And damn, was it good. They're following up that edge-of-the-seat performance this year with dark comedy Boys, also focusing on a group of adolescents, this time on the edge of adulthood as they graduate from university. Its "drug-fuelled irresponsibility" recalls the glory days of Skins, but No Prophet's 2012 production certainly showed that this group were not going to rely on the TV fame of one of their number. If the ensemble deliver as much electricity as last year, this will be one not to miss.

8. Nirbhaya — Assembly, Riverside Studios & Poorna Jagannathan/Assembly Hall/1 – 26 Aug/£10-16
Yael Farber took Edinburgh by storm in 2012, with a sell-out run for her searingly passionate and volatile Mies Julie, a South African adaptation of Strindberg's 19th century classic that became the hot ticket of the festival. This summer she returns with a piece of new writing, which is set to be even more blisteringly gut-wrenching. Nirbhaya is inspired by the gang rape and murder of Jyoti Singh Pandey in Delhi in 2012, which opened the floodgates for revelations about the brutal treatment of women in India; Nirbhaya (one of the pseudonyms used in the press for the victim, meaning 'fearless one') attempts to break through the silence that surrounded the issue. Mies Julie was the most powerful piece of theatre I have ever seen, and if Farber brings the same extraordinary rawness and explosiveness to these real-life events, it is sure to rock the Fringe this summer.

9. Dick Whittington — University of Bristol Pantomime Society/theSpace on North Bridge/2 – 17 Aug Aug/£4-7
Ok, ok — I'm a bit biased. There's a small chance one of my loveliest best friends is starring in this. Nevertheless it's also a great option if you want a bit of good old-fashioned fun and silliness with a healthy dose of grown-up wit and humour. These students from Bristol are experts at serving up everything you'd expect from a panto, but with added extras and without too much of the cheese on top. With romance, songs and a dastardly villain, this is sure to put a smile on your face — plus it's great value for money!

10. Voices Made Night — The Magnet Theatre Company & Baxter Theatre Centre/Assembly Hall/1 – 26 Aug/£10-15
It seems that South African theatre is showing us all how it's done. Here the nation's top physical theatre company arrive in Edinburgh with their adaptations of the short stories of Mozambican author, Mia Couto. Described previously as "the cutting edge of South African art and culture", this company seek to relate his tales of love, loss, transformation, damage and forgiveness through the use of physical theatre and ever-changing characterisation and movement. Expect theatre that is passionate, moving and altogether beautiful.

11. Our Glass House — Common Wealth/Summerhall/13 – 25 Aug/Free Ticketed
Promenade and site-specific theatre are always to be found scattered across a fringe festival, and can work either fantastically or terribly. A promenade piece always feels like a risky choice, as the directorial decisions are so different to those of a conventional narrative work. Yet if the effect is truly immersive, it can be incredibly powerful. One such production, which certainly has the potential to be uncomfortable in either a good or bad way, is Our Glass House, a new work exploring domestic abuse. Staging this in a residential house should bring home (literally) the reality of this issue, as it is seen in its true setting rather than within the artifice of a theatre. Using fantasy, songs and choreography, there are a lot of elements in this — it has the potential to be too fragmented to deliver real energy or power, but if it is judged right it could be a truly eye-opening and compelling work.

12. Alice in Wonderland — Oxford University Dramatic Society/C nova/31 Jul – 26 Aug/£4.50-10.50
Having taken on the tricky tale of a murderess, Machinal, at last year's Fringe, OUDS are back with the rather lighter offering of Alice in Wonderland. Bringing out the vibrant insanity and twisty darkness of Lewis Carroll's classic children's novel, this adaptation throws you right into the world of the Mad Hatter and all his weird and wonderful companions — jump down the rabbit hole if you dare!

13. Nish Kumar is a Comedian — Nish Kumar/Underbelly, Bristo Square/31 Jul – 25 Aug/£6-11
After catching him guest-performing at the Footlights Free Show last year (one to look out for, by the way), I was impressed by Nish Kumar's set. Charming, witty, fresh and sharp, he delivers easy gags that nonetheless have a bite to them: certainly a name to keep an eye on, his one-hour show at Underbelly will be a tenner well spent!

14. Desperately Seeking the Exit — Peter Michael Marino/Laughing Horse @ The Counting House/1 – 25 Aug/Free Non-Ticketed
When you've invested a whole heap of time and money into a new West End musical and it closes within a month, you might lock yourself in your house and weep for a year, hiding from the embarrassment and despondency that might accompany such a flop — certainly, you might hide from the critics who gave it a panning. Peter Michael Marino has done no such thing: when Desperately Seeking Susan (the plot of the Madonna film of the same name, with the hits of Blondie crammed unceremoniously into it) turned out to be a bit of an epic fail back in 2007, Marino turned the situation to his advantage. Taking his new show's title from a damning review by Charles Spencer, Desperately Seeking the Exit tells the tale of how his musical flopped so badly, turning a theatrical car crash into an original, brutally honest, camp yet sensitive comedy. A phoenix of a show — from the ashes comes a new triumph.

15. Jonny and the Baptists: Bigger Than Judas — Pleasance Dome/31 July – 26 Aug/£6-10
Some musical comedy to round up my picks of the programme. Last year while editing Ed Fringe Review, my co-editor and I discovered this band and listened to their hilarious album on repeat in times of stress. With catchy tunes, sharp satire and a dash of absolute nonsense, Jonny and the Baptists make you laugh even more each time you hear their songs, as you pick up subtleties and asides that may have slipped by you the first time. More than one visit is a must!

THEATRE REVIEW: Happy New

21 June 2013

Trafalgar Studios

until 29 June 2013

Trailer: HappyNew2013

It’s hard to explain the plot of this play without making it sound totally farcical, but here goes — on New Year's Eve, two brothers are facing up to the long-term effects caused by their abandonment in a chicken coop. Yes, I know. Yet Brendan Cowell makes this an utterly convincing tale, as Danny (William Troughton) and Lyle (Joel Samuels) struggle to rehabilitate themselves into everyday life many years after this unusual form of childhood trauma: they seek the ironically-labelled 'Australian Dream', but fear to leave their apartment.

Cowell’s script crackles into life: it is extremely wordy, but high energy performances ensure that nothing of the dense dialogue is wasted as words fizz and tumble across the stage. Troughton and Samuels are a great double act, their energies bouncing off each other as they negotiate the intricate script with apparent ease. Their conversation is somehow macho and camp all at the same time — treated seriously, but eliciting plenty of laughs; hinting at a fractured past, but creating a seamless partnership. It is the arrival of Pru (Lisa Dillon), however, which really injects fire into this production. Her bitter, angry rant is definitely the funniest ‘scorned woman’ I’ve seen on stage, as her fury at Danny’s betrayal provokes a stream of insults and outrage delivered with hilarious ferocity and flouncing. Dillon certainly starts as she means to go on, as she steals the show throughout this fast-paced production.

Even if you didn't know already, there is something about Happy New that is distinctly not British. This is not to take anything away from our home-grown talent, but there is speed and sparkiness in this piece which marks it out from the crowd — as well as a certain brashness and bravery which enables this concept and its densely-packed script to succeed. Australian writer and director of the play Brendan Cowell was in the audience on this occasion (which preceded a Q&A session that I was sadly unable to stick around for — I would have loved to hear more about the thinking behind this piece) and it was a joy to seem him enjoying his work as much as anyone else. He has exuberant talent which still has room to develop if he continues to have such strong casts alongside him.

Brendan Cowell

Photo: Eva Rinaldi

In the later stages of the play, Lily Arnold's set design intelligently recreates the chicken coop from the brother's apartment, in which they now imprison themselves. Seeing this flashback enables the audience to disentangle some of the mystery behind the trauma, and the interjections of Pru's news reports and interviews are darkly comic. Yet is from this point onwards that the play starts to drag: having seen their past, it does not seem to take us anywhere new when we return to Danny and Lyle's present, and the rather complex plot arc gets stuck. The last section loses the vivacity that is so vital in carrying the wordy script, and energy fizzles out. It is sad that Brendan Cowell has made the all-too-common error of stretching this play beyond its potential: it is important to know when to stop, to preserve the fizz and energy before it lags. I could feel myself getting restless — such a shame for a performance that had me immersed and intrigued up until this point.

Happy New has the perfect mix of darkness and light: at times it is very funny indeed, but there are serious elements here which prevent this from becoming too frothy or farcical. When Danny and Lyle fall back into their chicken-like ways, with uncontrollable clucks and jerks of the head, somehow nobody laughs: the quiet, uncomfortable horror of the situation is apparent. The fact that the tone is pitched so perfectly, and that the cast — particularly Lisa Dillon and Joel Samuels — have a sharp and energetic grasp on their challenging dialogue, means that its wordiness and its over-long duration can just about be forgiven. It may need a little editing, but this cracker of a play is certainly worth crossing the road for.

FILM REVIEW: The Great Gatsby

directed by Baz Luhrmann

starring Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton and Isla Fisher

11 June 2013 (seen in 2D)

Official Trailer courtesy of Warner Bros.

For many, Jack Clayton's 1974 adaptation of The Great Gatbsy, starring Robert Redford and Mia Farrow, will always be the definitive movie version. So with Baz Lurhmann taking on the classic story of the failed American Dream, there was always bound to be some controversy: after all, Luhrmann isn't exactly renowned for this traditional tale-telling, as we all know from his Romeo + Juliet and Moulin Rouge. To enjoy this particular adaptation, then, it sadly is necessary to forget the book — and undoubtedly to forget the Clayton film — as once again the flamboyant director brings his own brand of spectacle and sparkle to the Gatsby story.

With plenty of soft focus shots, anachronistic but catchy music and pure over-indulgence, The Great Gatsby certainly is a treat for the senses. The party scenes that grabbed our attention in the trailer are reeled off in full force, crammed with wildness and temptations that really do make you wish you were there. The soundtrack divides opinion (my companion at the cinema seemed most unimpressed with the idea of Jay-Z turning up in the 1920s...), but the presence of rap and hip-hop alongside jazz elements in fact captures some of the spirit of this age, yet reflects it through a modern lens. Rap and hip hop can be seen as the music of rebellion: styles which teenagers adore and parents detest, which divide generations — not all that different from the raucous jazz so beloved by the flappers of the Roaring Twenties.

Many criticisms have been levelled at the film since its first screening, but surely there can be no doubting the lead performances. Tobey Maguire (Nick Carraway) does 'tortured soul' very well in the new framing narrative, and manages to epitomise the optimism of the American Dream without becoming sickly-sweet or clichéd. Carey Mulligan's (Daisy Buchanan) early charm gives way to a cold stillness very effectively by the film's climax; Mulligan lures the audience into sympathy for Daisy, around whom all the film's most potent emotions revolve, before shocking them with her distant aloofness in her final scenes. It is  a reminder of the shallowness of people which this film seems to reveal. Elsewhere, scene-stealers Isla Fisher (Myrtle Wilson) and Jason Clarke (George Wilson) give fantastic comic and tragic performances, but feel sadly underused: considering how much the film drags at certain points, it would have benefited from a bit more screen time from this pair of electrifying actors.

In the end, though, the film belongs to Leonardo DiCaprio. Looking staggeringly young and unarguably handsome, he explores all sides of Gatsby's enigmatic character with sensitivity and intelligence, maintaining that vital air of mystery throughout while allowing us an insight to the pains and joys of his life. While Luhrmann at times goes beyond over-the-top — the number of shots of DiCaprio's smiling face bathed in soft sunlight, backed by a glittering soirée of excess, or framed by fireworks is frankly outrageous — DiCaprio somehow pulls it all off and carries the film with an impressive performance. He really is a "great" Gatsby.

Yet for all its visual pleasure (DiCaprio included, I must confess...), the gorgeousness of the New York and Long Island scenery becomes a drawback to the film itself. There are so many CGI backdrops and swooping, brightly-lit and highly-coloured shots of the city, that the whole thing seems totally unreal. This is perfect for the fantasy and escapism of the hedonistic parties, notably the drunken haze of Myrtle Wilson's apartment romp, but it undermines the tragedy of the piece. It is beautiful, yes, but the dream-like appearance of the film means there is nothing real or grounded about it which could make the tragedy feel genuine, and therefore truly moving. Presumably this is the intention behind the starkly contrasting framing narrative, but the device doesn't have enough impact to make a difference.

It is no doubt this dreamy sheen that has caused the complaints of a lack of depth in the film. This by itself is rather problematic, but could be over-looked if the plot has been structured with enough strength and power. Yet there are sections which are dragged out beyond their potential, and the whole thing feels too long, diminishing the suspense even as it is created. As events build to the climactic moment of the car crash, the overpowering heat and tension of the New York summer are evoked beautifully; yet the scenes are too drawn out, and this pressure is wasted.

This is an enjoyable adaptation, despite the criticisms of die-hard Gatsby fans: it is certainly more satisfying to view it as a stand-alone movie rather than a representation of Fitzgerald's novel. Yet the over-indulgence of the parties is continued into some self-indulgent directorial decisions, and the film's length and unreal, almost unnatural qualities undermine the powerful performances on display. It looks beautiful and is an entertaining watch, but in being so Luhrmann's The Great Gatsby sacrifices something to really get your teeth into.

THEATRE REVIEW: Peter And Alice

Noel Coward Theatre

Tue 7 May

until 1 June

Trailer: Peter and Alice courtesy of Michael Grandage

Two shows in, the inaugural season of the Michael Grandage Company is already set to be a roaring success. John Logan's new play starring Judi Dench and Ben Whishaw has been much-publicised, and the fact that the run has been a sell-out is no doubt due in no small part to these two high profile leads. But the hidden star is surely Christopher Oram – the design of the opening scene is exquisite, seemingly simple when you first glance at it, but delightful as the eye peruses it. Not having the curtain down before the start of the play is a lovely way to show off Oram's work: the dusty old bookshop holds lots of detail on its many shelves, contrasting its shades of drabness against the colourful lives that soon arrive into it.

This beautifully-crafted yet ordinary setting soon gives way to a world of fantasy and memory, as the stage opens up and layers of time and imagination build up and shift. This play is hard to pin down as we flit from reality to fantasy, from present to past. The script leads us in this oscillating journey: at first, it is light and brisk, albeit with an edge. Dench's one-liners could really only have been written for her, with their steely humour and hint of a twinkle even in their brusqueness. Whishaw is allotted more of the meandering prose and, although it is sometimes tricky to follow even in Whishaw's fantastic performance, as the characters develop it makes sense: Peter Llewelyn Davies (Whishaw) lacks the acceptance and stoicism which Alice Liddell Hargreaves (Judi Dench) has built up, even through her troubled times.

As the final cheers of the curtain call died away, an audience member to my right mused that "there was a really good play in there somewhere – but I couldn't tell you what it was". Although this seems a little negative, I could see his point: this is a tricky play to get a hold of, as expectations and preconceptions are constantly derailed as the production takes us in suprising directions, often in winding dialogue. For this reason it isn't the most satisfying play you can see in the West End, perhaps simply because the script is a little wordy and there are too many elements trying to co-exist in it. Yet it is still an enjoyable evening of theatre, and this struggle to grasp at the elusive heart of the play makes for an intriguing puzzle. There can be no doubting the quality of work of the two leads: Whishaw and Dench more than prove their acting prowess – not that Dench has anything to prove with such a glittering career – with two magnificent performances. They are simultaneously moving, amusing, touching and enthralling, and absolutely live the parts: although we cannot help but reflect on their other famous roles, there is no hint here of M or Q, of Elizabeth I or The Hour's Freddie Lyon. Different as they are, Whishaw and Dench ensure that these characters work as a duo who support, disarm, challenge and reassure each other in turn, creating an unexpected yet fascinating pairing.

They are supported on the whole by a strong cast: Nicholas Farrell and Derek Riddell are both a sensitive and powerful presence as Lewis Carroll and James Barrie respectively, depicting the troubled individuals whose creative minds produced these unforgettable characters. As the fictional Alice, Ruby Bentall strikes the right note of an innocent yet somehow ominous shadow of the real Alice; similarly, as Peter Pan, Olly Alexander is occasionally a little soulless and flat, but treads the line between a comfort and a burden as the two literary characters flit amongst and even interact with their real life inspirations. The allusions to Alice in Wonderland and Peter Pan within the script are pleasing as we recognise them, but also newly poignant and sometimes disturbing as reality and fantasy are juxtaposed before our eyes: as Peter and Alice's stories are entwined and confused, the apparent familiarity of the two tales is blurred.

Although the plot and script whirl between fantasy, reality and that realm in between – that of memory – there are moments of starkness here which remind the audience of the earthly struggles which still continue, even when fairytales carry us off to another world. The final moments raised an audible murmur from the audience as its brutal bluntess was startling: Whishaw's simple act of closing the door behind him is powerful in its finality. Perhaps reality has conquered fantasy, or perhaps the fantasy of their childhoods has driven the protagonists' reality to this precipice. Unusual and tricky to get a hold of, Peter and Alice is still an intriguing, thoughtful piece of work carried by two wonderfully memorable performances.

Hamlet's Fool and the Cockpit Theatre

For those of you who aren't subject to my spamming of Facebook and Twitter every time I review something (you know you love it really...), on Friday night I headed down to the Cockpit Theatre in Marylebone to check out Hamlet's Fool on behalf of A Younger Theatre. The production was for the most part entertaining, with engaging and infectious storytelling from sole actor Peter Cutts; it had its weak points, no doubt, but his versatility and sheer enjoyment shone through and managed to create both laughter and poignancy in his rapid switching of roles, even though the script was a bit of a let-down in the final section. My full review can be found here if you fancy a spot of light reading on a Sunday afternoon: http://www.ayoungertheatre.com/review-hamlets-fool-cock-pit/

The Cockpit Theatre is a great little find, too. On my first visit there I was struck by its relaxed atmosphere, created for the most part by the open and easy friendliness of the the staff. The front of house team were warm and welcoming, and a mixture of old and young theatregoers created a happy buzz in the bar before the show.

Jazz in the Round
Image credit: Cockpit Theatre

As well as visiting theatre companies, the theatre also plays host to a range of musical acts, from the "gypsy jazz" of Elements of the Hot Club, who provided post-show entertainment after Hamlet's Fool, to the 'Jazz in the Round' which takes place every last Monday of the month. Described as a "barrier-busting jazz/ contemporary music binge", it presents an array of soloists and bands and looks to be a great way to spend an evening without breaking the bank!