Humans 2.0 poses the question: ‘Can we ever find a perfect balance, or is adapting to constant change the only way forward?’ through the use of acrobatics, contemporary choreography, and undeniable strength. The space goes dark, making the announcement to ensure phones are switched off. In a flash, the stage is revealed with ten bodies on the floor. I was hooked.
Credit: Arnaud Mbaki
This ensemble puts in a jam-packed 110 minutes of movement, collaboration, and extreme excitement. Talent pours out of their bodies, balancing not one but two people on their shoulders repeatedly, as well as jumping on someones back to the next. With no towers, apparatus, or safety nets, the collective of humans make so much with their own bodies!
An all physical ensemble, this piece also has segments of singular aerial aerobics which tie in more with a circus feel, yet somehow feels out of place as the overall piece feels to be so much about togetherness. At times there is too much going, on making it hard to know where to focus, or not enough going on that the room is up for distraction, but maybe that is also part of the intent.
Credit: Arnaud Mbaki
The production overall shows the effort to be different in a society that forces you to blend in with powerful repetition and struggle. The intention of being there to catch someone and still letting them fall is eye-opening in the representation of being human. I appreciated throughout the whole production there was a sense of equality being in the physical tasks or even in the same mesh costumes they wear and flourish in.
With no need for dialogue, the piece flows seamlessly with each transition of the passing in time, complementary backed with soundscapes composed by Ori Lichtik and Paul Jackson’s lighting. The show’s power of colour to emotion and instrumental abilities conveys tension and ease.
I will note that this piece is filled with experimental work with many areas that could be explored further. Even if you go to this show not having a clue what is going on, there’s no doubt you’ll leave in awe at what you’ve witnessed and the level of trust and hard work that goes into a piece of theatre such as this.
The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE