review

‘Little Eden’: A Review

In a world where reptilians rule and demand daily doses of blood from all of the earth’s citizens, Little Eden tells the story of Jim, an office worker happy to comply with the rules, but who slowly becomes aware that all he has been told about how the world works may be untrue. As secrets unravel, Jim’s safety and life as he knows it hang in the balance.

13312710_10154059108166233_4486126308724912648_n[1]

The debut production from Neon Peach Theatre is full of slick performances and big characters that make for an enjoyable romp through this world. Although the world could do with being a bit more solidified, and the set up a bit clearer, the fact that there’s a yearning to know more about the world demonstrates that it’s an interesting one. But with a slightly off version of reality, without clarification of what exactly is going on, it can become hard to follow and properly appreciate when the rules of the world start to come undone.

13320957_10154059108736233_6691409396024720195_o[1]An ode to 50’s sci-fi B-movies, Little Eden’s set, sound, and lighting design perfectly encapsulate this little pocket of cinematic history. Although this is a genre rife with joke possibilities, there was definitely the opportunity for more of this within the piece; the set-up is so rich, I was desperate for more gags and over-the-top self-awareness.

Liam Farmer gives a lovely performance as ‘The Vicar’, who narrates the entire show and is bombastic and incredibly fun to watch. Having a narrator on stage continuously can be a difficult thing to balance with the action of a show, but Neon Peach manage it perfectly. A special mention should also go out to Sophie Miller De Vega whose performance as the local nurse never becomes too ‘bimbo’, or dull, but continues to be funny despite her high-heel, pinned-up-hair, white-coat stock character.13316950_10154059108191233_8984799620704698462_o[1]In a small studio space like Camden People’s Theatre, it can be hard to visually engineer a whole world, but the transitions between different spaces and the way that the narrator interplays between it all is one of the strongest facets of the piece.

A work in progress that needs just needs a bit more of everything, Little Eden has potential, strong performances, and most of all, it’s proper good fun.

 

Here’s how to follow Neon Peach Theatre on social media:
Instagram: https://www.instagram.com/neonpeachtheatre/
Facebook: https://www.facebook.com/NeonPeachTheatre/
Twitter: https://twitter.com/NeonPeachInc

 

Words by Sian Brett
Images by Jon Lee
 

 

Advertisements

‘Watermelon’: A Review

“It’s okay if the love of your life is your best friend”

Last Sunday night I had the absolute pleasure of watching Box Room Theatre’s production of ‘Watermelon’ at the Hen and Chickens Theatre in London, as part of the Camden Fringe. The play was written by Georgia Green and takes a new and exciting look at the role of female friendships in modern life. Quite simply, Watermelon follows two girls named Abbie (Alexandra Proudfoot) and Zoe (Grace Hudson) on a night out, and a boy they bring home named Joe (Henry Taylor). Yet in just 55 minutes, it manages to introduce so many different layers and subtle hints at a wider life I desperately wanted to know. 

In case you hadn’t guessed, I loved Watermelon (and I don’t even like the fruit). The piece was exciting and dynamic, and ultimately showed the immense skill of Box Room Theatre in all aspects, particularly in the writing, and acting that came from Abbie, Zoe and Joe.

watermelon2

To me, it felt like a case study of sorts on all the different relationships we have. The cast of Watermelon portrayed fantastic chemistry but were equally all able to hold their own in scenes. A relationship between a girl and the stranger trying to sleep with their best friend is one I hadn’t seen before, but thoroughly enjoyed; the sharp dialogue between the two was constant and entertaining. 

One thing I found most interesting was how it showed the friendship between Abbie and Zoe. A lot of things they showed, I had never experienced with my female friends such as taking boys home or discussing sex lives, but then there were so many things I had experienced a hundred times over, like the classic boy talks or even facial hair bleaching… It got me thinking about how no one female friendship is really the same, and how lovely that is.

watermelon1

Watermelon is a beautifully open piece of theatre that takes the audience’s hand and invites them to share these experiences. Friendships are complex and can involve so much worry, and so to have a piece of theatre normalise that in front of my very eyes was comforting. 

Although very lively and, at times, laugh out loud funny, the piece also enters into some intense scenes, and some equally tranquil ones too. Fear and paranoia come into play when Abbie’s character goes missing in the night, and the relationship between Zoe and Joe develops immensely through the next half an hour of the play. They took a little slice of everyday reality and gave it so much life and depth; the audience is thrown into the drama with no warning, and it allows you to experience a great deal more emotion whichever way it swings.

watermelon3

In the above photo, you can see one of my favourite scenes of the play. The team at Box Room have a huge imagination but are clever in their delivery. This simple use of fairy lights and music gave such intelligent lightness to the personal drama Zoe’s character was going through. I genuinely thought about the light sequences for the whole week after, I loved it that much.

Watermelon is an excellent example of young new writing that we should be paying attention to in the theatre. A simplistic but secretly challenging piece that is dotted with feminist quandaries most of us face on a regular basis (but perhaps aren’t as brave as Zoe when it comes to resolution). There’s so much to discover and explore that it’s hard not to love.

Four Stars for Watermelon!

 

You can follow Box Room Theatre on social media, and keep up to date with all the lovely events they host (enough to satisfy all your comedy and theatre needs)!

Words by Briony Brake
Images from Box Room Theatre

Wonder Woman: The Marketing, The Film & The Future

Wonder Woman came out in the UK on the 1st June, and although it’s still showing a few cinemas nationwide (if you missed out, don’t forget to check out independent cinemas who show films later), it’s generally on it’s way out until we see it next on DVD. Thankfully, a lot of people saw it making it a whopping £173m in its opening weekend, meaning Patty Jenkins now holds the record for the biggest US opening by a female director. 

I have a lot I’ve wanted to say about multiple aspects of the film, including a review itself, as well as how much I struggled with some of the marketing, and ultimately what it all means for the future. So make haste, there’s so much to discuss.

1491990205555-1

I should also mention that this article is one part bad news, two parts good, and I’m going to start with the bad things. The way this film was pushed toward a female audience in its partnerships and targeted posts absolutely reeks of a room mostly full of men, all trying to work out how to market superheroes to women. YES I GET IT, SHE IS A WOMAN. You do not need to market her as a woman to me, a woman. You also do not need to market this superhero film any differently to how you market superhero films with men in. Women already watch superhero films, and go to the cinema just as much as men. Just get on with marketing a Wonder Woman film that we have all been waiting for, and show loads of kick-ass scenes and cool scenic shots from her homeland and we’re good to go.

Before I go off on a fully fledged rant, here’s a bit of an idea about the kind of marketing they did for this film. Take it in, and think about it. 

Untitled collage

Wonder Woman is one of the most bad-ass female characters ever, but gals let’s get together and have a girly night and go on a spa day!!! Let’s go see that mega babe, what a stunner that Diana. Please, stop trying to market her to women like we are an alien species.

Superhero films are all marketed pretty much the same way every time, unless they’re female superheroes. I love Wonder Woman as a character, and I always have. I also love pink, and am a bit girly, and being a human being I am capable of being and liking both. The point isn’t that you can’t be both, it’s that in the marketing campaigns for this film (including a free lipstick with your lady’s razor!), it was suggested that despite Diana being a superhero trying to save the planet, we still somehow see women as one thing. It’s very generic, and that’s a tad insulting, really.

Wonder Woman is Amazonian, and I’m pretty sure they don’t shave their legs or plan spa trips to Santorini (because they’re too busy shooting arrows at Nazis while they fly through the air).

29wonderwoman1-facebookjumbo

The two good parts begin now, and they will try their hardest to be brief.

The film was excellent. The Amazonian women were so damn cool, and so was Diana. I recently read an article praising the fact that when Diana jumps and runs and lands, her thighs jiggle. It’s very simple things that women have wanted in film for ever, and we’re finally getting them, and it’s finally happening, and I can’t help but think after all this time, was it really so hard?

Wonder Woman is a great film that genuinely has a superhero lead; it isn’t just a soppy romance, or an action-less female superhero flick. I felt so great watching it, I honestly was so happy at all the female characters whooping ass, at one point I nearly cried. 

justiceleaguefl_5793e2ad66f2e8-62187952

Most importantly with anything of this nature, is its consequences, or rather what it means for the future. The female director of a female-led superhero film holds a box office record, and fought off some major summer blockbusters like The Mummy simultaneously. This, plus the thigh-jiggling suggests more positive things in the future for women in films, and improvement in genres like action, horror and so on.

The only negative thing looking forward (the only big negative thing) is still the way we believe that women don’t watch superhero films, or scifi, or horror (despite the fact that sci-fi was invented by a woman), and as a result, the marketing and advertising done on films like this are still really crap. The next time they release a female-led action film or superhero film, I hope we can see similar publicity to male-led films in the same genres. 

Swings and roundabouts, am I right?

What did you think of Wonder Woman? Let us know, and feel free to tell Briony to stop ranting on here (I’m so sorry), and make sure you catch up with other great female led films coming out this year such as Raw, The Beguiled and Atomic Blonde.

 

Words by Briony Brake
Images by Warner Bros Pictures and Odeon Cinemas

Tate Britain Exhibition: Queer British Art 1861–1967

On my first full day living (temporarily) in London, I headed on over to the Tate Britain for the first time, to view their current exhibition, and the first ever exhibition on queer British art. The exhibition is free for members, or £15 otherwise (or £13.10 for all you students out there), and is so much more than an exhibition. 

gluck2_1

I went in around half past six on Saturday, and left almost two hours later. The exhibition is split into six sections, with other events around the gallery including music and spoken word performances. It’s a real celebration, and I expected nothing less.

The LGBT+ community are very present at the exhibition and it was nice to see an institution like Tate open their doors so fully to a community, and to allow fun, bright and happy celebrations to occur. The art itself is fantastically interesting, and successfully tells a story of generations of writers, painters and inspirations whose impact carries through to this day; from varying feminisms to early drag, and even fashion.

IMG_6781

Although the art and its stories are definitely worth talking about, I am not an expert, or even as knowledgeable about art as I’d like to be, and I think the best thing about the exhibition was not the frames on the walls, but the people walking room from room, celebrating their pride and their own history, just by being there. It was the most unique and charming atmosphere I’ve ever experienced inside a gallery.

IMG_6780

When I neared the end of the exhibition, having slowly wandered room to room, reading every plaque, and admiring every painting, sketch and statue, I could hear the thudding bass of an ABBA track in the distance. In the final room, two doors seemed to be illuminated pink from the other side, and I could hear an assortment of Madonna, Lady Gaga and similar. Upon opening the door and leaving the exhibition, we left the history behind, and entered into the bright pink party celebration where love happens, now.

People from all over were just dancing together to great music, and I don’t think it gets much better than that.

 

The exhibition is on until 01/10/17, book here: http://www.tate.org.uk/whats-on/tate-britain/exhibition/queer-british-art-1861-1967

Words by Briony Brake
Images by Tate Britain and Briony Brake

‘Colder Water’: A Review

Sunday afternoons for me are usually spent aimlessly engaging with whatever cheap dialogue is available on Netflix. Yet I was lucky enough to be invited by Antonym Theatre to watch their latest piece Colder Water, directed by Celine Fortenbacher-Poplawska, and 2016 Edinburgh Fringe success ‘TWIX’, directed by Cara Withers and Molly Evans.

19576826_1374509062632136_96473837_o

Out of the New Cross bubble, and with a £4.65 Voddy and Cranberry, I was ready to absorb the works of Antonym Theatre’s Double Decker: ‘Colder Water’ and ‘TWIX’. Ogden’s writing makes you walk in the characters shoes; no matter if those shoes are pinchy, floppy, or relatively comfortable, I was tying the laces of empathy as I went. Since finishing my second year of studying Theatre Arts, I turn to one of my favourite quotes to best describe pieces such as Colder Water and Twix.

19549770_1374509055965470_1601756256_o

Laurie Ogden’s work may not focus on the lives of 19th century Russians, but it does focus on employing subtlety. Supported by lyrical monologues and passive-aggressive characters which allows her pieces to act as broken glass to present a unique glint into ordinary lives.  The premier of Colder Water was essentially an extract of an awkward, yet needed conversation between four individuals dealing with an unplanned pregnancy.

Colder Water’s subtly allows the audience to uncover that there is more to the situation than the conversation currently offers. Ogden explores our society’s extremely problematic values when it comes to dealing with sexual assault; “What were you wearing?”, “How much did you drink?”, “You were asking for it”, “You’re making it up”. All while sexual predators such as Brock Turner and Andrew Picard have the justice system wrapped around their privileged fingers. There is no point denying that the justice system prioritises their voice and the future of the attacker over the victim’s.

Colder Water’s depth of field focuses on Ally (Alice Brittain), Louise (Jess Reed), and Ellie’s (Laurie Ogden) internal perspectives of female connection, layering these women with intense humanity and interest. Ogdens depth of field allows Colder Water to artistically show a ‘social template’ wherein the attacker’s dialogue and privilege is removed. This template is something our society and justice system should be employing.

19512436_1374509052632137_222047058_n

In addition to Ogden’s use of subtlety, she liberates and showcases a lesbian dialogue between Ally and Ellie. Other than the series Orange is the New Black or the video game Life Is Strange, I’ve found that most theatre, art, or television I’ve engaged with is (mostly) heterosexual, or includes a gay-male character. Colder Water introduced me to a lesbian dialogue on stage. It was heart-warming to watch as the piece didn’t focus on the fight for LGBTQ+ rights, but rather the everyday lives of a couple, which I found enlightening to watch. Especially Knowing that artists such as Ogden are composing work about homosexual experience without a political drive – in regards to their rights. Again, Colder Water serves as a template for showing that we’re in the 21st century. Lesbian relationships are more than acceptable and shouldn’t be excluded from art and theatre.

Overall, I think Colder Water is pretty neat and has potential to rock the feminisms world! A massive well done to Laurie Ogden and Celine Fortenbacher-Poplawska and the cast/crew of Antonym Theatre! I give you five stars! (literally)

Peace, Love and Cacti

Courtney McMahon

3

p.s. not all dialogue on Netflix is cheap

 

 

Words by Courtney McMahon
Images courtesy of quotefancy, Antonym Theatre, Theatre N16 and Courtney McMahon

‘Heroes’: A Review

Picture this: you’re sitting inside your University exam hall, your clothing style has changed, your hair is longer (or shorter!), and you’ve already planned your “We made it through our degree!!!” house party. But then suddenly, it hits you. The past three years have flown past quicker than you imagined.

You, sitting there, paused mid-sentence. The sudden fear of having to enter adulthood strikes: getting a job, paying off your debt, potentially get married or having children, then watching your children continue the ongoing circle we call life. Your future flashes before your eyes quicker than you can finish that sentence you paused on. As you ponder your existence during a quarter-life crisis, you could say you’d like to become a superhero.

“Student Finance cannot cover a Superhero, let alone a degree!”

1

Heroes is a play written & directed by Sian Brett, co-directed by Frankie Jolly, and is a part of Box Room Theatre Company and Goldsmiths Drama Society, 2016.

Every university student would relate to those first paragraphs. I know I’ve most definitely had similar thoughts on numerous occasions. University is not just about improving our fields of study, but our development as a person! So the idea of leaving this stressful-Utopian establishment, is quite frankly, frightening.

Heroes is a play which presents the contrasting pessimistic and optimistic anxieties of two third year English students sitting their final exam. Sian Brett, a name you’d be familiar with if you’re an Anthem regular, has voiced common, yet silent concerns among students such as:

  1. Am I spending more time at the pub than completing my University bucket list?
  2. Are our degrees even worth getting a part time job just to pay disgustingly overpriced rent? Then, having to scrape together the little time we have between lectures, societies, and reading to actually live our lives.
  3. Should I study a Masters Degree to continue my “University” experience? Or in reality, am I just delaying my entrance into adulthood??
  4. Am I going to be as extraordinary as I originally planned to be? Will even I make a significant change in the world? Because at the moment, we’re all uncooked potatoes.

“You’re a vile creature, you’re a student

2

One of my biggest fears in life is not being remembered. I want to be extraordinary, and these exact thoughts are expressed in Heroes. As an audience member I was able to tag along with the characters’ search for an understanding of our life and how we contribute to social progression. Heroes welcomed me to the idea that anybody could change the world. No matter how big or small the situation is, you don’t need powers to be a hero.

You can’t talk about Heroes without mentioning the fabulous cast members Niamh O’Brien and Jazmin Qunta. The relationship between the two characters is organic; I didn’t see a performance, I saw life. I saw me and my home-dawg (hi Nicole) back in Loring Hall, eating Thai food while discussing our future….or watching High School Musical 2. The point I’m making here is that Heroes’ self deprecating nature allows the audience to chuckle their tits off whilst still projecting themselves onto the characters. It’s theatre which holds your hand and says to you: ‘Hey man! You’re not alone with this… I love you and everything, but your palm is really sweaty right now’.

Heroes It’s probably the most heartwarming downer I’ve ever experienced in theatre! The sooner we realise that all art is about death, the happier we’ll be in life.

To see more from Box Room Theatre, click here:
Facebook –  https://www.facebook.com/boxroomtheatre/?fref=ts
Instagram – https://www.instagram.com/boxroomtheatre/

Because I loved Heroes so much I’m giving it 5 Stars! (My dog is called Star and she is great)

3

 

Words by Courtney McMahon
Images courtesy of Courtney McMahon and Box Room Theatre