Sussex Playwrights Reviews

Rebel Boob
Speak Up! Act Out!
Director Angela El-Zeind
Choreography Katie Dale-Everett

Breast cancer is the most common cancer in the UK with one woman diagnosed every ten minutes. And around 350 men a year, too.

Eight out of ten are not warned about the possibility of developing long-term anxiety, depression and other mental health issues.

This week, rage about the way gynaecology submits women to extreme pain without anaesthetic has taken centre stage, so this topic feels so much a part of the conversation right now.

This piece of verbatim theatre is based on interviews with survivors, some of whom were with us in the audience tonight.

Three women tell their stories, each dipping into testimonies that plunge us into some dark places, from the in-shower oh-crap moment to glimpses of the realities of the treatments.

We begin at the moment of diagnosis, a professional voice droning on – but it’s overtaken by the thundering heart, the wooshing in the ears, she’s falling, twisting, caught in a tornado.

Yet there’s joy and positivity too, glimpses of new beginnings, relationships strengthening, and the sense of a second chance to seize the day.

And a fun moment – an unexpected, brightly contrasted piece of audience participation that’s very cleverly popped in just where it’s needed.

The show’s performed by an assured trio;
Chess Dillon-Reams’ fluid dancer brings a powerful glow, Aurea Williamson is all restrained grace and compassion and director Angela El-Zeind delivers a performance of poise and authority.

It’s staged very simply, a few seating blocks and spotlights, with slides flitting on and off screen and audio snippets from the interviews, monologues and dance and physical theatre pieces interweaving together.

Like the survivors it celebrates, this compelling, frank and emotionally captivating piece will go on to new directions, telling more stories and spreading the word.

(PS: Do your checks, and go for your scans)

Philippa Hammond

Brighton Shakespeare Company

Brighton Open Air Theatre

A unique experience – reviewing two different performances over two nights as the elements put in a spectacular first night appearance in Brighton Shakespeare Company’s tense, intense and cool new production of Julius Caesar at the Brighton Open Air Theatre.

Dreadful portents and bad omens set the dark mood of the play, and on the first night, that uneasy threatening sense spilled out into the real world. Crows flapping about over the darkening space, distant sirens in the city and a lowering sky, sullen thunder, flashes of lightning – the theatricality was spectacular and we were riveted. Called off at the interval with  ‘cry havoc and let slip the dogs of war!’ – well, we had to come back for more.

Shakespeare’s tale of unrest, mistrust, angry mobs, betrayals and conspiracies feels uneasily real right now, and is presented in BSC’s signature pared down style, this time inspired by a Tarantino aesthetic.

The mood’s sombre, a simple black and white pallette, dark suits, shades and little black dresses, with washes of red light for the conspiratorial exchanges on the bare green stage.

Taught, punchy direction by Mark Brailsford with Sarah Mann and Kerren Garner, and some stylish unpleasantness from the fight arranging team Jack Kristiansen and Josh Plummer mean the show zips along with energy and pace.

Julian Parkin’s Caesar is a restrained and distant being, a god of human frailties.

As the conspirators, Sean McLevy’s blazing Cassius, Deborah Kearne’s slyly amused and knowing Casca and Stewart Barham’s infinite sadness over what he must do light up their shifting, fatally intertwined relationships.

Andrew Crouch as a youthful, commanding Mark Anthony delivers a magnificent performance, huge-voiced and passionate.

Kerren Garner’s Portia and Tia Dunn’s Calpurnia show another side of the politics of powerful men; the wives who must bear the spotlight and share their husbands on a huge stage. Demanding then begging for attention, notice and consideration, these are too-brief glimpses of two formidable women.

Great support from a multi-roling team, George Derbyshire, Mark Brailsford, Jules Craig, AW King, Katy Matthews and Oscar Smart, and a sweet and ultimately heartrending turn by Phoebe Elliot as the boy Lucius.

The play continues through Sunday at BOAT. 

Details at http://www.brightonshakespearecompany.co.uk/

Philippa Hammond

Sussex Playwrights Reviews:

The Ghost In The Machine (The Seance)

A Zoom play by John Knowles

Cast:
Amelia – Emily Carding (editor)
Alice – Sabina Arthur
Frank Sidney Kean
Pete – Patrick Kealey
Gary – John Knowles
The Ghost – Dominique Gerrard (director)
Gary’s Wife Susan Elliott

May’s an amazing time for creativity, here in Brighton and Sussex.

At the time of writing, Brighton Festival, Fringe and Artists’ Open Houses should be happening all over the city.

But as we all know, it’s all off for now.

Instead, an extraordinary flowering of creativity is happening online. Artists are creating new audio, TV, film, music and different ways of communicating all using the internet. We’re seeing ambitious live Shakespeare performances in isolation, new audio dramas and commercials all filmed in the actors’ own homes.

And here’s a first for Sussex Playwrights Reviews – a brand new play by John Knowles, filmed and delivered entirely online, a collage of actors’ faces and backgrounds all recording into their own devices in isolation.

An online seance is about to begin. The familiar group is gathering together in isolation for the first time, led by medium Amelia (Emily Carding), all smoky eyed and ethereal in the Northern lights – until of course it all begins to go wrong. She’s dragged out of her carefully cultivated persona, as slightly pissed Gary (author John Knowles) crashes into the meeting.

The play has great fun with the social and technological awkwardness we all share in the New Normal; as you can’t hold hands, just how do you cope with that online? Those interruptions from family, arguments and unfortunate revelations when mute hasn’t worked – they’re all so now.

Amelia’s valiantly holding together the wafty ‘is there anybody there’ schtick, but finally losing it in the face of intransigent irritating people is very funny.

But the note turns dark when another participant logs in and gains control of the meeting.

Knowles’ writing ranges from amusing parody, closely observed online chat and exasperated rows, to the final editorial tone of the play’s real message.

The fun, relatable premise leads us into explorations of online spying, Zoom bombing, and just how much information, personal details and secrets about ourselves do our computers contain – and who has access to it?

It’s real lockdown theatre for now.

Watch here (20 mins)

Philippa Hammond