I’m beyond excited to be putting my play ‘Duty’ on at the Brighton Fringe. The actors are inhabiting their characters, they bring the script to life and make these people live. I have to say, it’s really perfect casting. Perfect. Matt Vickery brings such intensity to the character of John, it’s riveting to watch, utterly compelling. Jordan Southwell’s creation of Harry is absolutely brilliant: the perfect foil for John to butt heads with: cheeky, innocent, and so loveable. Jake Marchant is so still, calm and poised as Joe, pouring oil on the waters of their friendship with beautiful diplomacy, tact and intelligence. And between them they create this very real friendship that just feels like they have been friends forever, with their humour, their way of behaving with each other and the grounded dynamic. Sam Nixon as Mags, John’s mum, adds so much to the melting pot and gives us a huge insight into not only her relationship with her son, but in their interactions together we get to see so much more of John, and how others see him, his internal thinking, struggles and motivations. It’s quite simply a joy to watch them all work.
To Everyone who wrote to me requesting a review, thank you – I received hundreds of emails and unfortunately couldn’t reply to them all. There are so many more things in this year’s Fringe that I can fit in my diary, as I’m producing my own show as well, plus in rehearsal for another show in June, so my time has been more limited.
I’ve seen some stunning theatre, my favourites so far are:
My lovely friend Luke Mepham of Macroverse Films first feature film is currently in production. I play a drama group participant in it: Tina Carpenter. She reads a lot, she’s a little irritating, she has a dominating mother and a daughter Rachel who has a top job in London and rarely has time for her mother. Rachel is always pleasant enough but pities Tina, considering her not worldly wise at all, which is true. Tina is used to apologising for herself, including for taking up space. She hopes the drama group will help with that. So far she’s just got scared of the exercises.
Of course all of that character prep is just in my little ole head, but it helps me to know her better, then I can portray her better!
Well the East holidays went by in the blink of an eye, although it didn’t feel like that when I was in the middle of them. There was time with the ever enchanting and wonderful Mia, but also broken down car, trying to squeeze in all the things I need to do to produce – and direct – my play, into all the moments (like the odd hour) when I wasn’t looking after Mia. And as ever, there was theatre, from the sublime to the ridiculous. Literally.
I saw the the Southwick Players production of the Beauty Queen of Leenane at Southwick, which was absolute class. Stunning production in every sense. I couldn’t stop thinking about it afterwards: the story, the performances, the reflections on life. I mean who doesn’t love Martin McDonagh of course, he has a unique style: immersing you in the story as if you’re engulfed in a wave. It’s like standing in front of a Rothko painting the way Rothko intended, so that all you see is the painting. Like jumping into their world. Which is full of obfuscations so that you are always surprised, on the roller coaster of the journey, taking each moment by moment of sometimes bliss, sometimes humour, and sometimes madness or sadness. Stunning.
Then I saw, two days ago, Murder on the Orient Express at the Theatre Royal. As a huge Agatha Christie fan I was predisposed to like it: it’s a classic, it’s Poirot, it’s fascinating. But I – and I lot of the public, I heard as I was leaving (I always like to listen to the audience, it helps my perspective, for example, what am I thinking of the play compared to everyone else) – were left with a “oh. That was pretty good. I mean yeh, the set! Wow! The set was fantastic! But the whole thing – yeh, it was OK.”
I don’t ever EVER want to be involved in a piece of theatre where the public leave and say “hmm. Yeh, that was OK.” It would stab me in the heart, as a director, producer, writer or actor. You want your audience to feel something, even if they don’t like it, that’s them feeling something. But a shoulder shrug and ambivalence? Oh no.
And of course the set was fantastic. But the set should hold the play, not BE the play. You shouldn’t have a segment where the train is just spinning on a revolve in the stage showing all sides of the train compartments and ooh! Look! He’s rolling up a window blind. So? Do you know how long the book is? You’ve adapted this play from a novel, you’ve already had to cut out truck loads which might affect people’s understanding and you’re just showing us the train? For ages?
I know other reviewers have loved it, and I know it’s easy to get caught up in the wonder of being shown something that despite being in the theatre all the time, you’ve never seen before, and it’s new and exciting. Of course it is. But that doesn’t mean it’s groundbreaking theatre. And when you get an actor sinking to a chair doing the worst sob noises I’ve ever heard as if they are in a movie melodrama from the 1920s or 30s, almost with a hand to the forehead and wistful gasp – not only one actor, but two – then I want to blow raspberries at the stage, despite some really fine performances from some of the other actors. It’s the widest spectrum of actor capability I’ve ever seen in one single professional production actually, from really amazing to really awful. It’s so sad, I really wanted to love it.
Here is us at the beginning of the show. You can tell it’s the beginning. We are smiling and hopeful. Sigh. I did love Poirot though – so lovely to see his work as I’ve been watching him in various things for years and years – including in one of my favourite all time films: Truly Madly Deeply. Poirot was impassioned and great.
But we’re all different though, right? And mine is just one opinion.
We won tickets to see Operation Mincemeat in London, through their weekly draw – it’s the most 5 star reviewed show in West End history, and I wanted to know why. Now I know why. Absolutely jaw-droppingly out loud guffaw yet poignant in moments fantastically brilliant. That’s the only review you need – just go. You’re welcome.
I reviewed a charming show at the Corn Exchange in Brighton: Kim’s Convenience, (I’ve linked my review in) and then on to Brighton & Hove Operatic Society’s quality production of Company the next night – and then last night, the mind blowingly fabulous five star worthy The Shark Is Brokenat the Theatre Royal in Brighton. I’ve wanted to see this since I first heard of it and I was super excited to see it last night. It’s on all week – if you love Jaws, go. I’ve linked my review – I can’t add any more except just go. You’re welcome.
Had a brilliant time at Gladrags looking for World War One soldier uniforms for my upcoming play “Duty” at the Fringe, plus clothing suitable for working on a farm. Gladrags is like Aladdin’s cave, a treasure trove, filled to the brim with all manner of clothing, sometimes overwhelming and some spaces you can hardly move in! Jordan Southwell, one of the actors, was amazing at finding suitable clothing and trying on different sizes and combinations.
It was something else to see him in a First World War uniform.
Even in socks.
Brilliant.
Tickets are going fast – don’t forget to book! Tickets are available on both Brighton Fringe and The Lantern Theatre so if it’s sold out on one, there might be tickets on the other.
Well actually it’s been a week: Kinky Boots the Musical on Tuesday at the Theatre Royal, which was great. I had not seen the show before. Obviously I’m a massive fan of the film, and it was fun to see the show.
Then, The Approach at New Venture Theatre on Saturday. Stunning piece of theatre, simply stunning!
So from dressing up in style and being tres sophisticated one night to being the woman on her own with a notepad the next: I love theatre so much I wouldn’t have it any other way.
I’m delighted to have been cast in Identity Theatre’s latest production: Oh! What A Lovely War. It’s a strong cast and I feel honoured to be part of it. Multi rolling, singing in a full on musical – fantastic. And the choreography, however simple it might be to otherwise non clumsy people, I’m finding that the most challenging as usual! It looks gorgeous when we get it all right. I’m looking forward to “Sister Susie’s Sewing Shirts for Soldiers” which is enormous fun!
So watch this space and don’t forget to book your tickets for June!
I am stoked to be bringing my new play to Brighton Fringe this May. Rehearsals are under way. It’s going to be brilliant. I’m positively fizzing with excitement.
A quick squizzoo to the Barn Theatre in Southwick to work alongside Martin Oakley designing lights for Wick Theatre’s Who’s Afraid of Virginia Woolf. I also supported Publicity Lead Emily Dennett with some publicity things (as she was also playing the lead in the play!) including press: it was good to be back writing copy for the Herald again! Article here.
I love my desk
Loads of tech difficulties with the lighting which would have tried the patience of a saint – and with one thing and another, after Martin had set the lights everywhere they should be and he and I had checked them all, I ended up designing the lighting states on my own – which was SUPER, I do love that. My favourite was the end scene, with a grey dawn breaking through the window. Photo below courtesy Miles Davies.
