Review: #Haters by Odd Eyes Theatre

Haters#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.

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Review: Push and Citizen Puppet by final year students at the Royal Central School of Speech and Drama

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.

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Review: He Had Hairy Hands by Kill The Beast

He Had Hairy Hands is billed as ‘a brand new tale of supernatural slaughter’ and the show is a manic whirlwind of fast-paced physical comedy, hilarious one-liners and stunning animations. It takes as its setting the sleepy village of Hemlock-Under-Lye, whose legend of a benign werewolf suddenly takes a turn for the macabre when the bodies of well-loved residents are found, disembowelled and mutilated, resulting in a storm of hommages to Victorian melodrama, Hammer horror and classic detective films, raining down upon the audience at a furious pace.

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Review: Reptember by The Faction

ReptemberThis year, The Faction have departed from their usual Spring repertory season of large-scale ensemble plays, to produce an extra series, or rather three series, of short, one-person performances, adapted from original classics. On 16th September, I saw one of those sets: The Man with the Flower in his Mouth by Luigi Pirandello, Medea, adapted by Emily Juniper from Euripedes and Metamorphosis, by Faction-regular Gareth Jandrell, from the original Kafka.

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Review: Sex Idiot by Bryony Kimmings

Sex Idiot was first created four years ago and, before the performance, Bryony was at pains to remind me that it is part of her earlier canon of work which has matured significantly since then. But I am in haste to make up for lost time and Bryony’s work has been on my ‘must-see-but-haven’t-managed-to-yet’ list for too long, so it seemed fitting that I started with the earlier stuff and can work my way forward from here.

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Review: A Dashing Fellow by Belka Productions

Belka Productions is dedicated to presenting rare Russian and European texts, and it was therefore fitting that my first encounter with their work was a fusion of both – an adaptation of three stories by Vladimir Nabokov, a Russian emigré who lived for a while in West Germany. The play is a strange Russo-German amalgamation: evoking Isherwood‘s Berlin, as interpreted by Ebb and Fosse, and combining the detachment of Brecht with the lack of moral finality of Chekov, which would leave you unsatisfied were it not for the perfidious, yet magnetic central character.

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Review: Kubrick3 by PIT

There are too few comedies on the small-scale scene these days, mainly because it is one of the most difficult genres to get right, but PIT are masters of it and Kubrick3 (tongue-twistingly pronounced ‘Kubrick cubed’) is the latest gem in their canon.

As PIT shows so often are, Kubrick3 is inspired by a true story – that of Alan Conway, described in the publicity as a “failed businessman and unsuccessful homosexual [who] decides his life might improve if he just tells people he’s award-winning film director Stanley Kubrick.” And from that premise comes a fast-paced, roller-coaster ride of hilarious proportions.

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Review: Rift Zone by Night Light Theatre

Night Light Theatre is a devising company and Rift Zone is their latest show, directed by Rich Rusk (Associate Director of Gecko), and based on the company’s experience during a trip to Iceland.

The set is the first thing that strikes you as you wait for the performance to begin, dominated by coloured light bulbs on pendants, some of which hang at different levels over the playing space, and some of which are tangled together to decorate a crude throne at the centre of the back wall. Music is playing, live, as you enter the space; strange, unearthly music which, as the lights go down, is swelled by three vocalists, trying-out sounds which, at first, present a cacophony of meaningless syllables, but which gradually come together to create harmony and the beginning of a narrative.  And this is a glimpse of the show to come.

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Review: Thebes, Hamlet and The Robbers by The Faction

The Faction are nothing if not ambitious, and it is their regular rep’ seasons at New Diorama which have raised their profile so extensively. Where else can you see three such diverse plays in one season by the same company, and thus get to know their work so well?

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Review: Where the White Stops by Antler Theatre

Antler Theatre is a new, young company, founded only last year (2012) by a group of students who met at East 15, under the mentorship of their tutor, Uri Roodner. In this way, they follow in the fine tradition of companies such as Trestle and Idle Motion, and their work certainly lives up to that legacy.

Where the White Stops, Antler’s latest show, is the story of Crab, a young girl who dares to step outside the boundaries of her village in the far north, and chance the wrath of the Beast who roams ‘the white’, to search for something else. On her way she meets Carpenters and Kings, makes friends and foes, and battles through cold and blizzards to find the elusive place where the white stops.

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