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Archive for the category “Performing Arts”

Future Cinema presents ‘Who Framed Roger Rabbit?’

WHAT: Who Framed Roger Rabbit
WHEN: February 14 – February 23, 2014
WHERE: The Troxy (490 Commercial Road, E1 0HX)
RUNTIME: 180 to 240 minutes
WHO: Future Cinema
PRICE: £34.30-47.10

OUR RATING: Do It!

Los Angeles. 1947. The sound of streetcars, jazz and big band. Hollywood.

Standing in a queue down a dark alleyway next to The Troxy, a stunning art deco building built in 1933, one is immediately transported through the decades to the 1940s, dressed elaborately in post-war fashion and buzzing with anticipation for a bit of swing dancing, a little big band, and a lot of…cartoons?

Future Cinema, a live events company that specialises in bringing the cinema experience to life in a fusion of performance, film, multimedia, design and a wealth of interactive encounters, brings Who Framed Roger Rabbit? to The Troxy stage, immersing audiences in the fantastical and comedic world where live action meets animation, and where private detective Eddie Valiant investigates a murder involving the famous (and hilarious) cartoon character, Roger Rabbit.

Alicia: Future Cinema has produced other shows at The Troxy, but Who Framed Roger Rabbit? really wouldn’t belong anywhere else. It was a perfect representation of the film’s Ink & Paint Club, which itself was a nod to the Harlem nightclub The Cotton Club, a famous go-to spot during the Prohibition Era. Today, the venue is used for anything from weddings to live music to sporting events, and is a drop-dead gorgeous spot for anything it hosts. If you think the place is lovely on the outside, your senses are overwhelmed by the majesty of the interior, with art deco fan carpeting, interiors of purple, turquoise and cream, massive chandeliers, sweeping staircases, and a general opulent decor that is magnified impressively with theatrical lighting. Walking in, you are struck with awe.

Credit: Future Cinema

Credit: Future Cinema

Before walking in however, the experience started with the Toon Patrol, Future Cinema’s take on the crazy bullying weasels from the film, who roamed the alley interrogating the audience, clad in their colourful zoot suits and complete with maniacal laughter. Upon entering the club, you were even stopped by good ol’ Bongo, the gorilla bouncer from the movie. Let’s just say the password wasn’t the famed ‘Walt sent me,’ but the interaction with Bongo is a riot.

Credit: Future Cinema

Credit: Future Cinema

The interactive experience continued throughout the night, from conversations with Marvin Acme, crazy antics from the penguin waitstaff, and a hilarious conversation I had with R. K. Maroon about not showing up Bugs in a new film we’re making. I’m really not a fan of having conversations with actors in this kind of interactive experience (I like to be left alone and observe, usually), but I tried to let myself go and become one of the Hollywood elite, allowing myself to become immersed and becoming a character myself.

Credit: Future Cinema

Credit: Future Cinema

The tie-in to the film was even lovelier with cabaret acts reminiscent of those in the movie, such as the ever-necessary “Why Don’t You Do Right?” by Jessica Rabbit herself and a marvelous rendition of “Hungarian Rhapsody (Dueling Pianos)”. There was some odd talent outsourcing, where people from the audience were invited up as part of the talent show…which, in concept, was nice, but in execution was a little strange. Otherwise, this was a perfect manipulation of the Ink & Paint Club from the film, and really brought the entire experience to life in a whirl of fantastical comedy.

Credit: Future Cinema

Credit: Future Cinema

Adam: I must say that I entered Future Cinema’s Who Framed Roger Rabbit? with a bit of trepidation. Would they be able to pull it off? I’ve been to immersive events before, from in-cinema cult classics to elaborately staged Punchdrunk. Some of the initial viewer reviews were less than positive – would this experience measure up? Thankfully, I’m pleased to say that I thoroughly enjoyed the entire experience, full of the gleeful fun the movie is so well known for.

Credit: Laura Little

Credit: Laura Little

Tables lined the repurposed Troxy, now the Ink & Paint Club, whilst actors roamed the venue, looking for newcomers on whom to try out their routines. Once we had seen the pre-show entertainment, the movie began in all its 1940s glory, whilst actors representing the famous characters occasionally picked up from the movie. You were literally in the club, with everyone from Eddie, to Roger to Jessica all around you.

Credit: Hanson Leatherby

Credit: Hanson Leatherby

Before the film is in full swing, you’ll probably want to pick up some grub. A wide variety of offerings are available including French dips, pulled pork sandwiches, apple pie, carrot cake, mac and cheese and a carrot in a bun for all you rabbits out there. Be warned: the food and drink prices are steep when you take into account admission (French dip will cost you £7, whilst cocktails are £8). Still, one can take advantage of the numerous toppings and you can easily feed two people on a French dip if you are generous with your pickles, sauerkraut and red onions.

Once you’ve munched through your food and the movie is at an end, the whole club takes on a new atmosphere as tables are cleared and revelers move to the dance floor for some 40s-style clubbing. So get swinging and dance!

Final Thoughts: A new take on a classic movie, Future Cinema’s Who Framed Roger Rabbit? is a unique experience that is unlike anything you’ve seen before. Although more highly priced than previous Future Cinema events, going with the right attitude gives you your money’s worth. Be warned: seating is first come, first serve, so get there early and snag a table up front to avoid disappointment. And remember, ‘[Roger’s] whole purpose in life is to make… people… laugh!” so laugh your heart out with the toons at this whimsical event.

P.S.: If you can’t get over to The Troxy for this immersive event, pick up a copy of Who Framed Roger Rabbit? and see what all the fuss is about.

Hidden Show: The Good Neighbour

WHAT: Hidden Show: The Good Neighbour
WHEN: December 6 – January 4, 2013/2014
WHERE: Battersea Arts Centre (Lavender Hill, SW11 5TN)
RUNTIME: 135 to 160 minutes (no intermission)

WHO: Battersea Arts Centre
PRICE: £12-19.50

OUR RATING: Chance It!

Put on your thinking cap and channel your inner Sherlock with Battersea Arts Centre’s Hidden Show: The Good Neighbour. Complete with mystery and magic, this immersive theatre adventure impels you to delve into curious mysteries and discover fantastical characters, leaving audiences inspired, awed and heart-warmed.

Credit: BAC

Credit: BAC

Alicia: The Good Neighbour is a parent’s daydream. BAC offers audiences two choices of adventure, one being geared toward families with young children (6+), and the other specifically for audiences without the little ones who want an adventure just for themselves (14+; specifically entitled The Hidden Show: The Good Neighbour). All groups (led by an actor) are trying to solve the same mystery, but the groups diverge every now and again, with special stories catering to their specific audiences. Inspired by the historic 1909 fire at the Clapham Junction department store Arding and

Hobbs, audiences explore and investigate the mystery of George Neighbour, who has lost his memory and needs his fellow explorers to delve into the hidden chambers of BAC to search its history and find the pieces of his life’s puzzle.

Photo by James Allen

Photo by James Allen

It was quite lovely to sit in a room full of excited families, ready and willing to solve this great mystery. Yet, being part of the adult show, our group was separated from nine other children’s groups, sometimes being sole adventurers and sometimes running into the other groups and sharing beautiful experiences with them. One of the best moments of these shared experiences was in the

Momentorium, a room full of moments and memories, of bright light and the slow dripping of water. A momentologist had just finished showing us the film of a person’s memories, a home video full of illumination, laughter and family. As the momentologist was about to show another home video full of another person’s loving moments in life, a young boy, approximately six years old, said, “That was beautiful. I think this one’s going to be beautiful too.” I swear to you, the most magical moment of the whole night. Despite being part of the more adult group at times, I was thankful to have experienced moments with these developing minds, and to witness the imagination and inspiration flooding forth.

Photo by James Allan

Photo by James Allan

Our group traversed the entirety of the arts centre, knocking on hidden doors, crawling through passages and even discovering trap doors and hidden momentos. At times, I really did feel like Alice delving into the curiosities of Wonderland, finding hidden messages on blank pieces of paper, talking with lightbulbs and watching the dreams of a Japanese bee. Other great moments were being ogled at by patrons of the BAC who were just minding their own business in the cafe or sitting room, and who were suddenly interrupted by our intrusive investigative team on a rampage for answers.

Photo by James Allan

Photo by James Allan

Adam: Beautifully orchestrated and imaginatively conceived, Hidden Show: The Good Neighbour takes around 10% of the audience on a more adult, behind-the-scenes tour of the children’s version, which runs side-by-side. Immersive theatre has had a massive boost recently, with the acceptance of Punchdrunk as mainstream and audiences clamouring for all-surrounding sensational experiences to take them away from the daily grind. In this respect, Hidden Show: The Good Neighbour is successful, but mainly for children.

Photo by James Allan

Photo by James Allan

Why do I say this? Because in order for such immersive experiences to be successful, one must feel thrust wholly into it believably – and being talked down to doesn’t achieve this. Honestly, I’m being too harsh as I really enjoyed the overall experience. I played to them, allowing myself to be immersed (or was I forcing myself?). This allowed me to get a lot out of it, but I would guess others in my group would have discovered less wonder than I.

In fact, at one moment, I was allowed to lead the group to the next scene by reading the instruction on a clue. Luckily, I took this seriously and spoke up, allowing everyone to hear – which cannot be said for the other leaders who got us hopelessly lost. Again, one needs to want to be involved, which was not the case for the other leaders.

Photo by James Allan

Photo by James Allan

The world created inside BAC is exciting and interesting, but doesn’t have the majesty of other immersive shows I’ve experienced. I was also highly suggest that the actors vary their performances dependent on the age of their audience: there’s nothing worse than being spoken to as if one were on Wizadora. If you have children this will be a treat, but otherwise only go if you have an imagination!

Final Thoughts: Families with young ones will find this an amazing explorative adventure full of wonder and delight. Meanwhile, adventurers sans-kids might want to reconsider this forey.

P.S.: For more great kids’ theatre, why not check out The Silent Language at Storefront City Chicago.

Courting Drama

TRlogoWHAT: Courting Drama
WHEN: November 23, 2013
WHERE: The Bush Theatre (7 Uxbridge Rd, W12 8LJ)
RUNTIME: 110 min (w/intermission)
WHO: Theatre Renegade
PRICE: £13.50

OUR RATING: Do It!

Storefront City went renegade last weekend with a visit to the Bush Theatre and a series of performances produced by visiting theatre company Theatre Renegade. Not only did we experience five new short plays by five emerging UK playwrights, but we also celebrated the theatre’s first published work, Courting Drama Vol. 1, at their playwright-packed book launch.

Bangin' Solves (Photo Credit: Theatre Renegade; Courting Drama Volume 1)

Bangin’ Wolves (Photo: Theatre Renegade; Courting Drama Volume 1)

A UK-based theatre company, Theatre Renegade places a strong focus on new writing, whether it be completely new pieces or unique adaptations. Collaboration and innovation are at the forefront of their work, providing the impetus and support for new work and new creative partnerships between writers and directors.

(Photo Credit: Theatre Renegade; Courting Drama Speed-dating)

(Photo: Theatre Renegade; Courting Drama Speed-dating)

Theatre Renegade’s Courting Drama series takes the stage every few months, but it’s not just the final result that has us interested in this fresh, young theatre company who has just celebrated their first anniversary. Their Courting Drama series actually starts with a speed-dating event, as four playwrights and four directors race the clock to find the new collaborative partner. After matches are made, teams have 2-3 weeks to cast and rehearse until all four shows are put on the main stage.

Old Fools (Photo Credit: Theatre Renegade; Courting Drama Volume 1)

Old Fools (Photo: Theatre Renegade; Courting Drama Volume 1)

Theatre Renegade has produced four installments of the Courting Drama series, all at the Bush Theatre, with the fourth taking place last weekend. The night started off with Nathan Wood’s Boy, directed by Jessica Edwards, a mysterious and disconcerting story of a young boy who starts his first day of school, but the situation is not as simple and naive as one would think. Next, in Vinay Patel’s evocative The Iguanodon Queen, directed by Sophie Lifschutz, little Sophie, bone hunter extraordinaire, adventures into an abandoned mine. Playwright Sandy Nicholson then brings us the intelligently manipulative story of The Colouring Book, directed by India Maclennan, where three women are part of a psychological experiment on patterns of interpretation. Next, we were excited to see Bruntwood-prize winning Taming Taliban (also known as Yen) by playwright Anna Jordan and directed by Josh Roche. This riveting and painful story follows a mother, two brothers and a young woman whose lives are affected by a vicious act.

Extinct (Photo Credit: Theatre Renegade; Courting Drama Volume 1)

Extinct (Photo: Theatre Renegade; Courting Drama Volume 1)

While these four outstanding plays were part of the speed-dating process, Theatre Renegade also brought a fifth play to the stage through an IdeasTap Creative Brief winner, Ella Carmen Greenhill, and her short play A Deafening Silence. Directed by Theatre Renegade Artistic Director Ryan Forde Iosco, this drama spins the sinister tale of an idyllic marriage gone wrong, and was so disquieting as to cause us to squirm in our seats. Which was a good thing! We think.

Scarlet (Photo Credit: Theatre Renegade; Courting Drama Volume 1)

Scarlet (Photo: Theatre Renegade; Courting Drama Volume 1)

In addition to these lovely performances, we also, as previously mentioned, had the opportunity to meet the Theatre Renegade crew during the launch of their first published book Courting Drama Vol. 1, which is the first of an anthology series featuring plays from past Courting Drama installments. Plays include the heartrending Old Fools by Tristan Bernays, the absurd Conk the Dyslexia Goblin by James Hamilton, the outrageous Extinct by Jamie Biddle, the sensuous Bangin’ Wolves by Phoebe Eclair-Powell and the hauntingly beautiful Scarlet by Sam H. Freeman.

Conk the Dyslexia Goblin (Photo Credit: Theatre Renegade; Courting Drama Volume 1)

Conk the Dyslexia Goblin (Photo: Theatre Renegade; Courting Drama Volume 1)

With this publication, the Theatre Renegade team has broken into the world of published scripts – their quality is astounding for an up-and-coming company.

So, we recommend you watch this group for upcoming productions: Theatre Renegade is here to stay.

P.S. Courting Drama Vol. 1 can be found online on Amazon.co.uk and in bookstores across the UK including Foyles, Samuel French and the National Theatre. (Published by Playdead Press, Inc.)

Ghosts

Screen Shot 2013-10-08 at 9.54.22 PMWHAT: Ghosts
WHEN: September 26 – November 23, 2013 (schedule)
WHERE: Almeida Theatre (Almeida St., N1 1TA)
RUNTIME: 90 minutes, no intermission
WHO: Almeida Theatre
PRICE: £8-32

OUR RATING: Do It!


Screen Shot 2013-10-08 at 9.54.39 PMMorality, malady, deviance…such is the world constructed before us by Richard Eyre, Britain’s foremost director, in his shiningly brilliant production of Henrik Ibsen’s Ghosts. Appropriately titled for this autumn season, Ghosts doesn’t fail to shock, question and lead its audience through a fallen beauty that is dazzling and yet somehow extremely pertinent to our times.

Lesley Manville (Helene) and Jack Lowden (Oswald)

Lesley Manville (Helene) and Jack Lowden (Oswald)

Widow Helene Alving (Lesley Manville) lives in a skeletal mansion that at once seems to brighten and dim with her emotion. She harbours a dreadful secret, the repression of which has brought Helene to the brink. Now, with the return of her artist son Oswald (Jack Lowden), she must finally unshroud the truth and present its hideous form, no matter what the cost.

Will Keen (Manders) and Lesley Manville (Helene)

Will Keen (Manders) and Lesley Manville (Helene)

Adam: Entering the theatre, I thought I knew what I was in for. The framework of Ibsen reminds one of an ever-encroaching black night, readying itself to engulf the audience in a cloud of depressive defiance. And yet, upon taking my seat, I could not help feel that this production cast Ghosts in a whole new light. An airy feel that led me to believe that liberation was within reach, a tantalising figment that might just be snatched up.

Charlene McKenna (Regina)

Charlene McKenna (Regina)

In essence, Ghosts is a work on 19th century morality – the ever present tug between the upright and moral (or the stuffy and oppressive), and the carefree and creative (or irresponsible and selfish). While one might think these debates were laid to rest along with all the dead religiosity that corseted Victorian society, it seems that we were mistaken. Organised religion (and ideologies in general) still preach to us, whether it is preventing women from wearing the hijab, extolling us to marry traditionally or even telling us what not to eat. In society, there are always those who wish to restrict (or is it protect?) the freedoms of others, as much today as in Ibsen’s time. Ghosts wrestles with extremes, and through this we are left wondering how we can travel a moderate path that avoids oppression AND unrestricted hedonism.

Will Keen (Manders) and Lesley Manville (Helene)

Will Keen (Manders) and Lesley Manville (Helene)

For each type of indulgence, religious or libertine, results in a destruction, as we see in the tragically upsetting undoing of Helene’s son. Lowden’s portrayal lends itself to the Bridesheadian epitome of the disaffected, bored and damaged scion returning home after his revels in Europe. Through a sensitive and considered performance, Lowden explains to us the pain of bitter fruits bestowed to him from the past – like all the characters, and arguable people, the mental shadows that inhabit the corners of his mind plague his every excruciating word.

Charlene McKenna (Regina) and Brian McCardie (Jacob)

Charlene McKenna (Regina) and Brian McCardie (Jacob)

However, Ibsen is quite aware that presenting this work entirely as one of woe would not do, and as such provides us with a spot of comic relief in the form of Jacob Engstrand (Brian McCardie), the lowly father of the maid Regina. Using pity, wily tactics and other such methods, Engstrand lives off others while justifying his own parasitic position. However, McCardie’s bawdy fun can seem quite disturbing at times, creating the impression of devilish clowning with a definite malignant twist. His display of this character trait is magnificent and leaves one with a sense of double mind about the character.

Will Keen (Manders) and Jack Lowden (Oswald)

Will Keen (Manders) and Jack Lowden (Oswald)

Alicia: Upon setting foot in the theatre, one is immediately arrested by Tim Hatley’s set design. There is your usual beautiful Victorian-esque drawing and dining rooms, but Hatley places a semi-transparent and murky wall between the two. While rapt by the dialogue on stage in the drawing room, one is also audience to the shadowed world of the dining room beyond and its inhabitants, like haunted ghosts of another time.

Lesley Manville (Helene)

Lesley Manville (Helene)

Unfortunately, John Leonard’s sound design does not match the quality of other designs on the stage. While the ambient sound in the first couple of scenes help create a believable world, certain effects later on took me out of the scene entirely, providing a rather silly attempt at realism. And then, worst of all, the final and passionate scene between mother and son at the end of the play is ruined by an odd design/directorial decision to play really loud classical music while turning the entire scene orange and red. The design entirely took over the acting moment, just at the point when Manville and Lowden are giving their all.

Lesley Manville (Helene) and Jack Lowden (Oswald)

Lesley Manville (Helene) and Jack Lowden (Oswald)

Yet, to be perfectly honest I am being very hard on these few moments, as I ultimately felt riveted during the entire performance. As mentioned by Adam, Lowden performs stunningingly. I have always felt that Ibsen’s male characters are relatively weak in comparison to their female counterparts, and thus on stage I usually waive them off as merely supports for their leading lady. However, Lowden performed his part amazingly, with just the perfect amount of weakness and support as to keep in line with Ibsen’s character while also retaining a sense of strength and independence that I found refreshing. Performances by the snake-like pastor Manders (Will Keen) and the feisty maid Regine (Charlene McKenna) are also stunning in their portrayals.

Lesley Manville (Helene)

Lesley Manville (Helene)

And then there is Lesley Manville, who goes between fiery determination and shocking grief, bringing both love and pain to the forefront. One is completed exhausted at the end of the play having watched her on a rollercoaster of feeling. She is a wonderful force to be reckoned with.

Final Thoughts: Top class performances from well-known stars directed by a master of the art makes Ghosts a must-see. A powerful production with many angles, this is 90 minutes of sheer psychology that will leave you fascinated, disturbed and touched.

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