Interview: seeds (postponed for the duration)

“…brace yourself, you’re in for an emotive and important ride!”

WHO: Anastasia Osei-Kuffour, actor

WHAT: “On Michael Thomas’ birthday, his cake sits in his mother’s living room, its candles burning undisturbed. Jackie wants to clear her conscience, whilst Evelyn’s got a big speech to deliver on the 15th anniversary of Michael’s fatal stabbing. Are some things better left unsaid?

Shortlisted for the Alfred Fagon Award, seeds tells the story of two mothers united in sorrow, sharing the hardship of protecting their sons.”

WHERE: Traverse 2

DATES: Postponed for the duration

TIMES: 20:00

MORE: Click Here! (Including information about possible disruptions to the tour)


Why ‘seeds’?

When I first read the play, the writing hooked me: the measured way Mel writes means you’re constantly trying to work out what is and will happen. It’s a real thriller. I feel that it’s unique in its representation of two middle-aged women, two mothers fighting for their sons in a world where the rise in knife crime means that too many families are dealing with the aftermath of these tragedies.

What’s the one thing about this show that everyone should know BEFORE they take their seats?

This play presents two characters often underrepresented on stage and deals with subjects that feel so urgent. It might feel tense, uncomfortable at times and triggering because of the subject matter it explores but these ideas need to be explored in order to create change. So brace yourself, you’re in for an emotive and important ride!

What makes this production unique?

The fact that it looks at those left behind after a tragic incident, years after it happened, which is something that the media doesn’t often do. I feel that, as a society, we need to support those who are still dealing with the pain of loss years later and be aware of the effects it has on families and loved ones. ‘seeds’ explores real-world, important issues, it feels like something that can touch people and be a catalyst for change.

What’s the one thing you know now that you wish you’d known at the start of rehearsals?

That this production was going to work out as well as it has. At the start of working on any project, you hope and pray that you can create something of quality that resonates with people. I knew that the material was strong, so I wanted to do it justice. The feedback from audiences has been very positive so far so I really thank God for what we as a team have achieved.


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Antigone, Interrupted (The Traverse: Feb 20 – 22 : 19:30: 1hr)

“An elegant and transparent solo piece of dance”

Editorial Rating: 4 Stars: Outstanding

Antigone, interrupted is somatic poetry, cathartic ritual, political embodiment. 

Lately I’ve been coming back to Jonathan Burrows’s handbook and something I read really caught my eye: Simple things sometimes accumulate in virtuosistic ways. 

That’s the beauty of simplicity: with few tools we treasure infinite assets. Antigone, interrupted is an elegant and transparent solo piece of dance where the Greek tragedy is revisited through contemporary storytelling. 

It is great to see a collaboration that actually depicts Scotland’s reality: heterogeneous, European, international. Under the direction of Joan Clevillé (Catalan), the body of Solene Weinachter (French) orbits around the myth while her voice lies behind, to gently comment about  it with the audience. Sortir-de-soi- the Anagnorisis of the character/performer of Antigone. 

French philosophy comes to mind. Solene’s movement seems to deconstruct the levels of the body, unravelling the corps sans organes (the body without organs) of Deleuze, closely linked with the Théâtre de la Cruauté ( Theatre of Cruelty) of Artaud- how the State exercises violence against the bodies, and punishes them (Foucault). Modern Day Catalonia’s situation (just to name one) comes to mind. Young bodies and old bodies getting hit, bodies stretching, bodies longing from freedom. This longing, along with Antigone’s moral fight, is sketched in Solene’s movement when she plays with disruption, intermittence, reassembly, estrangement, awkwardness. The conversation with Creon using her feet while talking is a defiance of power (mockery of modern politician’s gesticulation?). In any case, the way Solene interprets Creon and the Chorus is a clear political parody. 

Discovering the revolutionary body, Antigone, interrupted is also an analysis of desire. Desire blooms out of an absence. Freedom and desire are like Eros and Thanatos: they are interdependent. The dynamic and pulse of the choreography is anxious, violent, organic- the character is in Agon, in agony. The body recognises its own existence: it’s corrupted, it’s dirty, it sweats, it squirms, it struggles, it’s exposed, it’s naked, it’s covered, it falls, it rises. 

The ritual side of Greek drama (post-modern performance always wants to come back to that moment) is honored on this show. The clever configuration of the audience, oval and on-stage, improves audience’s immersion, like a storytelling session or a foliada around the hearth. Sharing time, just breathing, we meet the Catharsis. Word and movement are completely melted. It’s not just related with time or silence- Solene’s dance outlines her words and her voice structures her movement. Literal body language. Solene Weinachter has, like a friend would say, a Daimon that is shown on her multifaceted skills. The dramaturgy is clearly made for her comedy and naturalness. Despite being a tragedy, we couldn’t stop laughing throughout the show. Through dance, power and old-fashioned narratives can be subverted. Maybe the birth of tragedy was that.

outstanding

StarStarStarStar

Reviewer: Helena Salguiero (Seen 20 Feb)

Trojan Horse (Traverse Theatre, Feb 11-12: 1h 15 mins)

“Realistic, respectful and approached with careful integrity. “

Editorial Rating:  4 Stars: Outstanding

LUNG theatre has gained popularity recently for their creative championing of minority demographics and events neglected by the media. They have done well to establish their own verbatim style that values justice, professionalism and integrity; attributes that shine very brightly throughout Trojan Horse. Written by Matt Woodhead and Helen Monks, Trojan Horse premiered in Edinburgh in 2018 when it won both the Fringe First award and the Amnesty International Freedom of Expression Award. Trojan Horse is adapted from over 200 hours of interviews, containing public documents and speeches taken directly from public interviews. The performance follows the famous 2014 scandal that surrounded the ‘alleged’ conspiracy within Park View Academy, Nansen Primary and several other Birmingham schools by Islamist extremists, who were supposedly planning to infiltrate the curriculum by enforcing their religious ethos. 

It is in this sense of verisimilitude that LUNG really excel in honoring the story of the teachers, parents and students who were directly affected by the inquiries. The acting style was realistic, respectful and approached with careful integrity. 

The fast-paced dynamicity, and slick transitioning between narratives in the show meant that occasionally I had to remind myself that what I was hearing verbatim stories, and not born-fictional narrative. The cast (Komal Amin, Mustafa Chaudhry, Gurkiran Kaur, Qasim Mahmood, Keshini Misha) work excellently as an ensemble, representing the people at the heart of the enquiry with pride and respect. Mahmood is especially memorable for portraying an honorable image of the selfless Tahir Alam; former chairman of governors at Park View, who was banned from his role for undermining ‘fundamental British values’. 

In perhaps its most artful navigation of difficult topics, the piece covers some understandably heavy political content, which is offered in a way that provides context to new audiences without demeaning them. These moments are paralleled masterfully with moments of relief, even comedy. It feels almost wrong to think of laughing together given the subject matter, but in a way, it reflects LUNG’s message on human connectedness beautifully.

As in most of LUNG’s work, Trojan Horse really emphasised the extent that the media can influence public opinion by omitting fact, corrupting the truth and in this case, propagating islamophobia for the purpose of views and retweets. These messages are supported by the constant presence of mobile phones and snippets of radio broadcasts as a key source of communication in the piece. It is here that the piece begs us to confront how we make judgements. Why are we, the British public, so quick to believe the headlines rather than hunt for the full story? When do we begin to accept accountability for how our complacency feeds into the plague of mass-media falsity in Britain? The continuing popularity of LUNG’s Trojan Horse only goes to emphasize its relevance today, and that we still have a lot to learn from our past mistakes.

Trojan Horse is a brilliant example of how theatre can create space to reflect upon socio-political and economic matters that is both cathartic and politicizing. It is clear that the LUNG team are practicing the proactivity that they preach throughout their creative and production processes. The show’s engagement continues beyond the parameters of the stage space, with fundraising, community engagement consultants and an academic advisor. In writing Trojan Horse, Monks and Woodhead had recognised an injustice in the world and gave voice to the voiceless. As a Theatre graduate, seeing Trojan Horse highlighted the absolute necessity for my generation to utilise our privilege, and start writing and creating with/for our communities. In the words of Razwan Faraz: “Young people: do it, tell the story. Because the people at the top aren’t”.


“What are you doing for society?”

At the end of the tour leg, LUNG informed us that they will be taking Trojan Horse to the Houses of Parliament to fight for the Government to commit to a definition of Islamophobia. This success only demonstrates the power of this piece of documentary theatre in implementing real change, and I look forward to seeing what they have in store for us next. Please check out and sign their petition calling on the UK Government to adopt a definition of Islamophobia at: https://bit.ly/2NMe673

outstanding

StarStarStarStar

Reviewer: Paige Stillwell (Seen February 11)

Interview: Hay Fever (25 – 28 March ’20)

“Why not put on play where you can forget the outside world and just laugh?”

WHO: Martin Foreman: Director

WHAT: “Meet the wealthy, self-obsessed and eccentric Bliss family; grande dame of the stage and mother Judith, novelist and father David, and their two children Sorel and Simon. Each has invited a guest to spend the weekend at their country house in rural England – and each has neglected to tell the others. Needless to say friction and hilarity ensue in this classic British comedy of manners.

As we enter the new decade EGTG takes us back 100 years with Noel Coward’s Hay Fever. Inspired by Coward’s acquaintance with silent film star Laurette Taylor, Hay Fever has been popular with audiences since its premiere in 1925, remaining relevant with its astute observations of family life and human folly.”

WHERE: Assembly Roxy

DATES: 25 – 28 March

TIMES: 19:30

MORE: Click Here!


Why Hayfever?

The end of March, when the play is put on, is the beginning of spring, just the right time for something light and frothy. Besides, whether we’re talking climate change or domestic or international politics, last year was turbulent and this year is turning out to be just as bad – and that’s before we factor in coronavirus. Why not put on play where you can forget the outside world and just laugh?

If you scratch below the surface, however, you can see both how cleverly plotted Coward’s play is. Independently of each other, the younger generation of the household invite older guests while their parents bring in visitors young enough to be their children. The volatile dynamics of the household – everyone strong-minded and with few restraints on their behaviour – mean that conflict is inevitable and the guests struggle to keep their emotional balance as the repercussions ripple through the evening. And while the cast – particularly the Bliss family – are close to caricatures, there is enough humanity in each of them to hold our attention and to find their situation believable. By the end of the play it is almost a relief to find that the storm has passed and everyone has come through it more or less unscathed.

What’s the one thing about this show that everyone should know BEFORE they take their seats?

Zoe is a cat.

All right, if you want something more substantial, the fact that Coward based the character of diva Judith Bliss on an American actress, Laurette Taylor. Whether she knew that was the case – he confessed in an autobiography that was published several years before she died – is unknown. I like to think that Taylor would have been flattered by the comparison.

What makes this production unique?

The cast! A group of very talented actors, half of whom are EGTG regulars and the other half new. Everyone is very supportive and rehearsals are definitely fun. I don’t want to name any of the nine-strong cast in particular because they are all good and contributing the same enthusiasm.

I would like to say something else, but when we proposed a significant change to the Noel Coward estate that we felt would enhance the comedy while keeping the spirit of the play, they said no. Perhaps we will go back to them in a few years to see if they have changed their mind.

What’s the one thing you know now that you wish you’d known at the start of rehearsals?

We didn’t pay attention to the fact that there are far too many props! It’s a very complicated play to put on on a relatively small stage. Drawing paper, drinks, flowers are just a few things that are brought on and have to be taken off. Meanwhile Clara the housekeeper has to serve breakfast for eight at every performance. Haddock, anyone?

Costumes are another issue, since everyone has to dress for dinner and the dressing-room will be crowded with skirts coming off and gowns going on, while the men fiddle with ties and braces. But practice makes perfect and with backstage help – without which no play goes well – I expect the production will run smoothly.


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ASMF: BELL: USHER HALL: 19 JAN 20

Academy of St. Martin in the Fields, with Joshua Bell, center, in a dual role on Wednesday at Avery Fisher Hall.

“Oh glorious 1713 Huberman Stradivarius in the hands of Joshua Bell”

Editorial Rating: 3 Stars Nae Bad

The Usher Hall have done a great feat of marketing with their Sunday Classics International Concert Series.  It utilises concert downtime, offers below premium rates to hirers and audiences alike, and thereby enables second tier orchestras from around the world to perform in a city with the musical cachet of Edinburgh.  And by second rank I am not being pejorative.  How often do you get to hear the Iceland Symphony Orchestra, Swedish Philharmonia, or St Petersburg Symphony (not Philharmonic)?

Moreover, the repertoire offered is accessible, and as a consequence of all of the above the Hall is usually sold out except for the Gods, mostly by the elderly not especially musically literate or regular concert goers, and, by the sound of things, after a good lunch.  The queues from the Box Office tailed back into the cold January air. There was a real buzz.

On the question of sound of the non-musical variety I again criticise the audience for their indiscriminate coughing.  January and February concerts are of course the worst for this, and I have again asked the Usher Hall to put a note in the programme such as do the Royal Festival Hall advising patrons to cover their mouth with a hankie when coughing is inevitable as it reduces the sound by 90%.  Compared with the discipline of the audience last night in Berlin who remained silent throughout and for 20 seconds after the conclusion of the BPO’s Bruckner 4, this lot were an ill-behaved bunch that would have got chucked out of any self-respecting German or Austrian concert hall.

End of rant.

In the context of the above, to have perform on a Sunday afternoon the Academy of Saint Martin’s in the Fields, undoubtedly one of the finest chamber orchestras in the world with probably the longest pedigree, alongside top soloist and their Music Director for over eight years, Joshua Bell, the mould was truly broken and I felt we were in for a real treat.

Only so-so.  The playing throughout was technically perfect, but the works were not over demanding.  The tempi were fast, not uncommonly so, but particularly in the two Bach pieces there was no time for the emotion to come through. You have to work to get the emotion in Bach, but it is surely there.  Both the Violin Concerto in A Minor and Brandenburg Concerto No 3 showed a pleasing brilliance of tone – oh glorious 1713 Huberman Stradivarius in the hands of Joshua Bell, what a privilege to hear its singing, pure, transcendent tone – but both were textbook readings of these pleasant pieces you could have found on a budget price label.

It was the glorious Mahler arrangement of Schubert’s Death and the Maiden Quartet No 14 in D minor that made the case for the band.  Whether Schubert or Bach is spiritually deeper would keep musicologists arguing for days, but the combination of Schubert and Mahler was formidable.  From the opening bars it was immediately obvious that we had gone up several notches in terms of interpretation, even allowing for, once again, the tempo being slightly on the fast side.

Why Astor Piazzolla’s (1921-1992) Four Seasons of Buenos Aries was chosen as the final and part of the programme beats me, other than for its superficial entertainment value.  A selection of tango inspired pieces with some virtuoso violin playing but in the the-dansant style delighted the audience, but classical music it was not, nor meant to be.

The overall impression of the afternoon was of a top-class band entertaining us, but without unduly stretching our critical faculties.  As such it was hugely popular with the audience.

nae bad_blue

Star (blue)Star (blue)Star (blue)

Reviewer: Charles Stokes (Seen 19 January 2020)

Visit the Usher Hall archive.

I Can Go Anywhere (Traverse Theatre: Dec 10 – 21 : 20:00: 1hr 20 mins)

Photo: Lara Cappelli

Photo: Lara Cappelli

“A nail-biting reflection on identity politics”

Editorial Rating: 4 Stars Outstanding

Award-winning Scottish playwright Douglas Maxwell’s new play I Can Go Anywhere sees Jimmy, a caricature of youthful optimism and mod-culture, arrive on the doorstep of Professor Stevie Thomas. Jimmy is seeking help in a last-ditch effort to be granted asylum in the UK. Dressed in his pinstripe suit and green parka combo, Jimmy is a larger-than-life comic book embodiment of all things MOD and all he wants is to prove he belongs. But Stevie, a disheartened academic, is suffering his own identity crisis, fresh from a break-up and meandering in the lows of a “transitional phase” in life.

Maxwell’s latest play follows a night of both confrontation and camaraderie between two men as they share vulnerabilities, anxieties and bond over 70’s vinyl. Both Nebli Basani (Jimmy) and Paul McCole (Stevie) hold the stage well as a partnership and their conflict offers a considerate perspective on identity politics. Eve Nicol’s direction also does well to present the character’s complex power and pride driven battle in 75 minutes, without seeming rushed or abridged. Basani’s performance as Jimmy is, no doubt, one of the best I have seen at the Traverse this year and by far the most captivating part of I Can Go Anywhere. From the moment that Stevie (Paul McCole) opens the front door, Jimmy explodes to life with an energy that is both nervous and endearing, embodying a personification of rogue mod that we recognise too well from contemporary British drama.

Ultimately, I Can Go Anywhere is urging us to face the way in which ignorance governs cultural identity, specifically in the process of seeking asylum in the UK. As we reel in the hostile aftershock of the General Election, there could not be a more appropriate time for a play to confront cultural identity. At times, Stevie and Jimmy’s to-and-fro of insecurities feels symbolic of the UK’s own divided identity. Here, there is a shared sense of feeling lost and a human desire to belong. For those living in Scotland in 2019 it seems ever more necessary for us to reflect on these notions and ask ourselves: What does it mean to be British today? Are our identities defined by the cultural groups to which we belong? What does it mean to belong

I Can Go Anywhere is both humorous and thought provoking, exploring notions of belonging, solidarity and authenticity in contemporary Britain. It concludes (if not a little clichéd) with a Billy Bragg style call to arms that urges the audience to look beyond appearances and judgments. Like Bragg’s political songs, Maxwell’s play uses mod culture to emphasise the collective power of music in creating solidarity amongst people. Let’s appreciate our cultural movements whether art, music or fashion, for how they help us understand how we identify with each other in this fleeting world. Maxwell states that I Can Go Anywhere evolved from desire to show that “art is far more important and powerful than politics”. Whilst the performance’s content certainly addresses this, my only qualm would be that the play’s dependence on naturalism is somewhat limiting and two-dimensional. Perhaps there was a missed opportunity here to engage with a more progressive and interdisciplinary style of performance that might explicitly confront the relationship between art and politics. 

 Despite this, I Can Go Anywhere delivers a nail-biting reflection on identity politics in the UK’s current climate of uncertainty and stands as a valuable experience for all audiences; regardless of class, culture or political views. The Traverse 2’s intimate and open space adheres to the nature of the play, allowing the audience to see and recognise solidarity with one another on the fringes of the stage space. After all, is it not the purpose of theatre to offer a moment of unity in an otherwise hostile world? 

outstanding

StarStarStarStar

Reviewer: Paige Stillwell (Seen 12 December)

Salt (Assembly Roxy, 07 -15 Nov : 20:00 : 45mins)

“A Poetic Conundrum”

Editorial Rating:  4 Stars Outstanding

If Fiona Oliver-Larkin had a magic formula for her new co-production with Al Seed, she might have mixed a little bit of Grotowski, Kantor, Alice in Wonderland, then have added some spices and at the end, naturally, loads of salt.

Far from trying to tell a linear story whilst retaining the aesthetics of a tale, Oliver-Larkin elaborates mesmerising scenic landscapes.  A poetic conundrum where the images work as oniric pulses that are splashed on the narrative, flashing throughout the piece: a marvelous and yet threatening house made of wood, salt and crystal; a submarine in a salted blue ocean; a small lighthouse; an indomitable garden where a beast lives; a still life as a graveyard made of wooden spoons; the light of knowledge that illuminates the main character at the last moment, right after a cathartic moment of biting the forbidden fruit.

This solo show with an austere scenography -that asserts the notion of poor theatre– and a noir and avant-garde study of beauty, makes use of dilated tempos to let the audience delve into the imagery (suspension very much appreciated in mime, puppetry or physical theatre). The lack of dialogue was key for the atmosphere of the show, as well as the accurate choice of making it no more than 45 minutes long.

In this fantasy world, where the strangeness and tenderness live together, we can see a little girl who uses her imagination to escape her reclusion, and plays with daily objects that become adventure companions, while an unknown being lives upstairs. The boredom of this normalised prison makes her mind work and boosts her inventiveness, to the point that fantasy and reality are blurred.

There’s a certain crescendo in terms of character’s development: the girl is afraid of beasts and dangers whilst at the end of the show -which is the travel of the heroine- she shows no fear. And that bravery makes her see the light. Plato’s cave, or just growing up?

Highly recommended for both adults and children.

outstanding

StarStarStarStar

Reviewer: Helena Salguiero (Seen 15 November)