#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.
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.
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In the last few years, Idle Motion have been taking the world by storm with their particular brand of physical and visual storytelling, and their newest show, Shooting with Light, is the latest, and most mature, in their exceptional canon of work.
Shooting with Light began as a piece about photography, but came alive during the research period when the company uncovered the remarkable story of Gerda Taro, the pioneering war photographer who has been almost forgotten by history, largely because of her gender.
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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.
I’m a big fan of The Faction, and their production of The Talented Mr. Ripley, with which Joan of Arc is playing in repertoire, is my must-see show this Spring. Sadly, though, Joan of Arc doesn’t meet the same standard.
The Faction are dedicated to producing the works of Schiller, and their previous productions of Mary Stuart, Fiesco and The Robbers have done much to revive the playwright’s reputation as relevant to modern theatre. Unfortunately, Joan of Arc, based on Schiller’s The Maid of Orleans adds nothing to this.
Partly, it’s down to the play. One cannot help but compare it to the George Bernard Shaw masterpiece, and it doesn’t stand up well. Gone is the trial scene, the pivotal dramatic crescendo of the story in which the audience is drawn into a natural empathy for the underdog, borne of outrage at the unfairness of her treatment, and admiration for the way in which she faces it.
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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.
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Rhum and Clay have been one of my favourite companies ever since I saw the amazing A Strange Wild Song a year and a half ago. Formed at the world-famous l’Ecole Internationale Jacques LeCoq by three students before they graduated, Rhum and Clay are supremely talented storytellers with a sense of the theatrical which employs any and every device possible to sweep its audience along with the story.
This co-production by Birmingham Repertory Theatre and Hackney Empire ought to be a sure-fire success, written by Danny Robins, who penned the popular Radio 4 comedy series of the same name, and starring the talented Lenny Henry. Sadly, however, it was the most disappointing piece of theatre I have seen in a very long time.
This 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.