#Haters is the first professional play by Odd Eyes Theatre, written and directed by Artistic Director, Emilia Teglia, and takes at its subject the real-life incident in 2014 in which a young Hackney man was stabbed and staggered into a local bar, covered in blood. The bar owner called emergency services, saw to the victim’s needs and, afterwards, in an effort to lighten the tone, tweeted about the incident with the hashtag #Welcome to Hackney. The backlash on twitter was immense.
From the publicity, it’s difficult to anticipate what this show is going to be before you see it. Its billing, as “part-silent film, part-thriller”, based on the case of the Hong Kong Serial Dog Killer, promises a dark and dour production which belies its engaging, comic and whimsical nature. Performed by four actors, who each take two parts – one of a dog owner and the other of a dog – it weaves the stories of four disparate souls whose commonality (if you excuse the pun) lies in the fact that they all walk their dogs on Hampstead Heath.
Silent Uproar are a Hull-based, New Diorama Emerging Company and, as such, presented their latest production Pig at the London venue in September 2015.
Pig is a clever title for a clever production. It’s a show about cops and robbers: Ted and Coral are jobbing cops, beat-bobbies who want to rise through the ranks and know all too well the downside of policing in the UK in the twenty-first century. Gaz is a likeable career criminal, who names his pet pigeon in hommage to the way in which the young hero of the Ken Loach film names his pet kestrel, hence the title of the piece.
Read MoreThe Point of No Return follows BeFrank‘s tradition of verbatim theatre, based on real-life interviews with a range of people on all sides of modern stories of conflict. This show tackles the recent events in Ukraine, pre-empting the current crisis, in which Ukraine’s position as the geographical and ideological pivot between Russia and the West divided the country.
There isn’t much to link these two pieces, other than that they are showcases for students graduating from Central. Push, directed by Catherine Alexander and Grainne Byrne is a devised piece based on the novel of the same name by Sapphire. Citizen Puppet is also devised, in collaboration with acclaimed puppet company Blind Summit, and is a whimsical piece of (allegedly) verbatim theatre centring around the events of a well-known fairy-tale.
The Talented Mr. Ripley is something of a departure for The Faction, being more modern than their usual source material, and also an adaptation, by Faction Artistic Director Mark Leipacher, of a novel by Patricia Highsmith. But the choice of subject is not the only departure for this New Diorama Associate Company. One is used to seeing The Faction perform on a bare stage, but in this production the space is dominated by a raised square platform, painted white and filling the black box space, with only a small corridor around the outside and a square pit in the centre. Gone, too, is The Faction’s fluid, shifting ensemble – the whole weight of this production rests heavily on the shoulders of Christopher Hughes, who plays the creepily obsessive Ripley.
I have wanted to see this show ever since it first began to create a buzz, and the perfect opportunity presented itself when it came to my local theatre, the Wycombe Swan, this week. I was, however, a little worried that my expectations were so high that the show would never live up to them.
Read More