REVIEW - THE DANCE OF DEATH

As the soundscape of waves crashes against the desolate ‘tyrant’ filled island known as ‘little hell’, a couple show that the release of death may be kinder than their reality.

The Dance of Death is an ironic name in itself, but it comes to light almost immediately that this is a dark comedy with welcomed laughter. The play shows how isolating and claustrophobic being in the wrong pairing can be. The Dance of Death explores three subjects in how humans be shaped by negativity, manipulation and yearning a sense of control.

As their 30th wedding anniversary approaches, we see Alice (Lindsey Duncan) and Edgar (Hilton McRae) in a relationship that begs the question ‘how has this lasted?’. Through the taunts and recriminations in their marriage true hatred is brought to the forefront. Everyone seems to leave this isolated couple and we are introduced to newcomer, Katrin (Emily Bruni), on the turbulence of which hatred, lies and deceit are conjured.

Oscar-winning playwright Rebecca Lenkiewicz yet again brings us a well executed delivery of how words can hold nothingness but the actions can hold all through this adaptation of Strindberg’s absurdist classic. The impact of the story leads to unthinkable twists, firm convictions and undeniable humour. Although variations of this production have been done many times in the past, Lenkiewicz’s version changes the gender of the third person which shifts the dynamic and overturns expectations.

Reuniting with the Arcola Theatre; a space which lends itself to any type of production with a unique feeling of intimacy and perspective, and allowing for good visibility wherever you are positioned. Although not specified the set heavily suggests a time stamp of the 1900s and topical issues such as ‘quarantine stations’ makes it feel more relatable in the unprecedented recent years of the pandemic.

There is minimal use of sound and lighting, which makes the performances feel that much more powerful. Sound design from Daniel Balfour, provides naturalism and transports the audience. This is a show which captures how powerful silence can be, with no need for heavy theatrics to bring it to life.

McRae’s performance of the ‘dance’ is as hypnotising for the audience as it is for the character. Through a vivid impersonation which breaks the fourth wall, McRae stares through us as the audience watched in bewilderment at what we were witnessing. An intense physical theatrical moment that I will forever in-visage.

Although some parts of the play are hard to follow due to the quickly-shifting subjects. The writing of the play is fantastic, bringing an entanglement of lies to the forefront, in which the audience do not know where one lie ends and another begins. The cast say everything with so much conviction that even at the original time of the lie we still do not catch on until we are subsequently informed.

The Dance of Death is the true definition of the power of a play and the credibility of superb casting. This gripping heavily dialogued production is one that requires a certain level of concentration, but you won’t want to look away for a second. I believe those who are familiar with Stridberg’s writing will appreciate this version, however I acknowledge that people who have no preconceptions may find it difficult to follow.

This modernised version of a classic is a gripping portrayal of a dark comedic play which does feel slightly constricted to a niche audience.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
by Ellie Preston
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
A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
by Tom Carrao
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 – REVIEW – LYRIC THEATRE
by Amy Rye
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
GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
by George Rennie
Drawing heavily from the classic canon of the British supernatural, High Tide’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 … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
CINDERELLA – REVIEW – LYRIC HAMMERSMITH
by Jenny Skuse
Drum roll please…(Cue a literal drum rolling across the stage.) The Lyric pantomime is one of traditions with the return of many well-loved jokes and skits. Costumes and sets are all made at the Lyric itself by Good Teeth, with set pieces being reused year on year. This year Cinderella gets the Hammersmith makeover, with some success. The costuming is fun and vibrant, with the ugly stepsisters’ equine pyjamas and hoop-skirted ball gowns giving all the wrong kinds of extra you need for those characters. Cinderella’s on stage dress transformation is magical and really well-timed. The Dame, Lady Jelly-Bottom’s, outfits … More CINDERELLA – REVIEW – LYRIC HAMMERSMITH