The Dark Earth and the Light Sky - Review - People's Theatre

The Dark Earth and the Light Sky

People's theatre
11th June 2019

Written by Nick Dear
Directed by Hugh Keegan


The Dark Earth and the Light Sky is the story of the friendship between poets Robert Frost and Edward Thomas.  There are four main characters - Edward Thomas, Helen Thomas, Robert Frost and Eleanor Farjeon and the play follows the relationships between these four friends. Though the play is ostensibly about the friendship between Frost and Thomas and the influence they each had on the other's career, for me, the relationship between Helen and Edward seems the strongest thread and Helen's voice the strongest, throughout.

Each character addresses the audience at some point - the first we hear is Helen and her voice throughout is the strongest. Even as she is moved away from Edward's focus she remains steadfast and forthright. Anna Dobson plays the role beautifully - capturing the transition from the joy of the young lover, through the drudgery of motherhood and housekeeping, essentially bringing up the children and running the household alone as Edward pursues his own dreams. Her devotion to Edward shines through even as he pushes her away.

Edward Thomas (Sam Hinton)  is an unhappy man - he doesn't fit comfortably into the world - at odds with his father, labelled failure by him because he does not share his hunger for financial success. Thomas wants to enjoy life as he lives it, not spend life striving in a job he hates in order to get on in society. His affinity is with words and with the land and the countryside. City life stifles him. He makes his living - such as it is writing literary criticisms, biographies, essays, reviews but it takes the friendship with Frost for him to realise he himself could be a poet. And yet still he feels that something is missing. Ironically, having fought against the constraints of city life, and the daily grind of marriage and children, he finally finds purpose by joining the army. And therein he finally breaks Helen's heart.

Robert Frost (Mark Burden) is a more enigmatic character - though he is one of the main characters in the drama I feel  we learn very little the man himself - other than his love for words, and his affection for Thomas, other than this we are given only glimpses into his own private life, snatches of his family history and background.

Finally, we have Eleanor Farjeon (Alison Carr), hopelessly in love with Edward but never more than friends. Their relationship brings light into Edwards life and darkness to Helen’s – she befriends Eleanor to keep an enemy close, and though the two women are friends, Helen is aware perhaps even before Eleanor herself, of the other woman’s love for her husband.  Eleanor is light, apparently carefree, and becomes the confident of Edward and Frost.  Hers is a lonely life, despite her place in society. Both she and Frost feel the loss of Edward keenly.

There are many, many layers to this play – it explores intellect and intelligence, but also emotion, and the nature of love, and expectation, success and failure, and self-worth. It is threaded through with images of nature and the love of the natural world, and the love of words. But also the power of words, both those spoken, and those not, their power to enlighten, and to educate but to also to confuse, to crush and to undermine.  The themes of language and nature are embodied in the stunning set created by Rolf Wojciechowski – with its draped images of distant hills and trees, and skies filled with cloudlike words – some legible and some just a hint of language.

The Dark Earth and the Light Sky is a beautifully sad play. A story of love, and loss. The cast portray their characters with such empathy throughout. Lovely performances from everyone involved. Performed in the round, this is an absorbing and intimate experience. As the audience, we switch from being voyeurs of these people's lives to being included in them, and back again.  

Studio productions never disappoint at the People's Theatre. This one takes them to another level.

Denise Sparrowhawk

Under Milk Wood - Review - Northern Stage

Under Milk Wood
Northern Stage 
6th November, 2018

Direction: by Elayce Ismail
Cast:  Christina Berriman Dawson, David Kirkbride

Listen - you will hear the lyrical words of Dylan Thomas spoken, not in his native lilting Welsh but in a soft cadence of North East England. Would this work? Surprisingly, yes it does. Dylan Thomas's words lend themselves well to the softness of a northern accent.

Listen - you will hear the sound of the sea, waves breaking over the rocks, and the sound of the wind, sighing through trees and howling across fields. You will hear bells ring, and clocks tick and birds sing. And you will hear words - an unstoppable stream of them spilling out from the mouths of two actors, playing a multitude of characters, weaving stories and dreams around a room filled with people - listening, listening, spellbound.


Listen - Christina and David will take you on a journey through the lives of a village, transforming themselves into characters - quirky and strange and sinister and forlorn - with the droop of a shoulder, the tilt of a head, or the lowering of a voice. From daybreak to dusk you will love with them, laugh with them, be surprised by them, be shocked by them. You will share in their joys and their sadnesses, their hopes and their dreams.

Picture credit Pamela Raith

Listen - and concentrate! Look at the images projected onto the walls but don't be distracted by them.  They will draw your attention away from the words, with their mosaics of blinking eyes and disembodied talking mouths - as strange as the dreams of the people of Llareggub.
 

Listen and you will hear and feel and live the life of a village.



Listen, because this play is all about words, and sounds, and feelings.
Listen, because the rest is dressing, clever and interesting and surprising, but ultimately distracting.

Under Milk Wood plays at Norther Stage until 17th November.        

Denise Sparrowhawk

Suicide Notes -review- Northern Stage

Suicide Notes by Christopher Brett Bailey 
Northern Stage
2nd October 2018

Suicide Notes isn’t as depressive as it sounds, though to say it’s not depressive in one sense would be inaccurate. Christopher was brought up in the USA and Canada, but moved to the UK in his teen years, so his accent is undeniably American. He starts the show off sat at a desk, with an audio recording device, pretty much coughing at the entire audience for what seems like about five minutes - an odd introduction , but it tells you a lot about his character and humour. I had a similar start to my comedy sets when I performed comedy, “my names DR Carlos, I’m not a real doctor, but I do like to tell people what’s wrong with them.” Your intro should set up the rest of the show and (unlike most of my stand up gigs) it only got funnier from there on.

The start of this spoken word show reminded me of the many open mic comedy gigs I’ve been to. Lots of one liner poems, some funny, some insightful, some both. He’s an intriguing character, somewhat majestical. He has all the snear of a 70s punk, which is lucky , because he’s in a punk band himself. Look it up, it’s very long. He reminds me of a cross between Patti Smith of 70s punk fame and Zach De La Roche from rock band Rage Against the Machine. Every night is different as he reads from his latest spoken word book, Suicide Notes, the follow up to his last book This is How We Die. The book is supposed to be five hours long and this show was about a hundred minutes long.

There are interesting themes not just suicide, but a wide range of topics, there are some political bits, some life pondering moments and some existential questions I could certainly relate to. At one point he suggests that parents revealing in their child’s achievement's is the biological equivalent of smelling your own farts and that if you really want to make a difference take on someone else’s problem and adopt. My sentiments exactly, not quite sure the audience agreed with that, but look around you it’s clearly not a popular idea.

Some of his stories are kinda sadistic fables ingested with real elements, like the time he goes drinking with Adam off of the bible and that. It’s clear he has a wicked sense of humour and I certainty enjoyed his piece, However like a lot of poetry and spoken word it does tend to quite often wander into ranty and preachy territory. You can tell he likes to improvise and probably does a fair bit of automatic writing. Some of the longer spoken word bits do seem unedited and came across like a flow of conciousness. The guy has a great charisma though, you really want to know what he’s going to say next and, his one liners aside, you really don’t see what’s coming next.

If you enjoy poetry, comedy and spoken word, I suggest you check him out next time he tours, or catch his last date on this tour at the showroom in Chichester on the 18th October 2018.

Frank Cromartie Murphy

Romeo and Juliet - Review - People's Theatre

Romeo and Juliet

People's Theatre
2nd Oct 2018

Romeo and Juliet is my least favourite Shakespeare play. I confess to disappointment that this was the People's Theatre choice this year.  I am in a minority. It's a crowd pleaser, everyone loves Romeo and Juliet except me. I think my dislike must stem from a bad production seen some time ago. And possibly Leonardo Di Caprio can shoulder some of the blame. I am always impatient with the fickleness of the characters, and the unreasonable feud. Do any of them even know why the two families don't like each other?

So it takes something special to get me on side for this one. Would People's Theatre be able to sway me from my prejudiced outlook?


Director Anna Dobson took her inspiration from the BBC's Peaky Blinders, bringing the play into post war 20th Century. This gives plenty of reasons for unrest and dissatisfaction in life to account for the many grudges and battles between opposing factions, and gives the wardrobe and set builders the opportunity to be a little more creative. No doublets and pantaloons here, and no rose covered balcony. The set is industrial, with barrels, packing cases and chains in place of the streets of Verona and rosy arbours. The cast are dressed in Tweeds and flat caps, swords replaced with flick knives and cudgels. The women dressed beautifully in furs and lace.
And in the background haunting Nick Cave tunes.

You know the plot - The Montagues and Capulets create fear and mayhem in the streets of Verona, violence erupting whenever the two factions meet. But two meet and fall in love - Romeo, a Montagu, and Juliet a Capulet. They enlist the help of Friar Laurence who marries them in secret. Meanwhile Juliet's father has brokered a marriage agreement with Paris.
I won't be spoiling the plot if I tell you it doesn't end well.

Craig Fairbairn and Emma Jayne Richards sizzle on stage with barely controlled passion in their scenes, capturing and conveying to all around, the immediacy of their attraction to each other and the all-consuming nature of their love.

Richard Jack gives an exceptional performance as the hot tempered and lewd Mercutio- the friend whose temper and loyalty contribute to the tragedy.

It is a fast paced, visually stunning and beautifully executed production. Did the team succeed in impressing me with their Romeo And Juliet? They did. They played a peaky blinder.

It runs until Saturday 6th October.

Denise Sparrowhawk

Northern Stage - Autumn Season Launch

Season Launch

Northern Stage
Autumn 2018

Northern Stage launched their autumn season with comedian and poet Kate Fox. Kate gave us a taste of what was to come in a series of interviews, video clips and snippets of performances. Her chirpy, upbeat commentary and infectious enthusiasm kept the evening moving along at a cracking pace - as well it needed to, there was a lot to pack in!

Before we get to the Autumn there is a great programme of events over the summer with Northern Stage's involvement with the Great Exhibition of the North. There are plans for Self Build Utopias - a series of exhibitions, installations and performances re-imagining the future. Lorne Campbell and Annie Rigby talked about the inspiration behind the projects and the hope to produce an interactive and engaging series of activities to recreate landscapes and reconnect communities. Watch out for the many different activities around the Great Exhibition of the North from June 22nd till 9th September.


But what can we expect at Northern Stage in the Autumn? 

As always there is a stunning array of diverse and original theatre.
If you missed last season's production of  Laura Lindow's adaptation of H G Wells' War of the Worlds then you have another chance to see it in September.

After the Last Ship and Launch Day, remembering the shipyards, this coming season sees  The Last Seam pays tribute to the mining heritage of the north with a play based on stories and voices of the miners during the last deep seem colliery closure. There's limited availability so be sue to book your seat for this one! (27th Sept).

October brings the stage premier of Alice Seebold's bestselling selling novel The Lovely Bones (9th-20th). This much loved, uplifting tale of love, loss and redemption has been adapted by Bryony Lavery.
While on Stage 2 there is drama in The Mountaintop - an intimate look into the life of Martin Luther King on the eve of his assassination (9th - 13th).





In November we have two powerful, but different pieces of  from classic literature - Dylan Thomas's lyrical observations of life in the small, imaginary Welsh village of Llareggub in Under milk Wood (2nd -17th), while the English Touring Theatre bring us Richard Twyman's vital production of Shakespeare's Othello (13th-17th).
Both these productions give a fresh and innovative look at a classic piece of literature.


The Christmas show this year is also a classic from English literature - Dicken's A Christmas Carol. Adapted by Neil Bartlett and directed by mark Calvert it promises to another imaginative and original Christmas production. (Dec 1st - Jan 5th)

And of course we have dance:  Tangomotion is a virtuoso display of traditional and contemporary interpretations of this passionate dance, while Ballet Lorent's After Dark is a cabaret style celebration of the 25 years of the company. Then there is more Dickens with Fagin's Twist - Avante Guarde Dance Company's hip-hop style re-imagining of five of Dicken's familiar characters (13th-20th Dec).

This really just scratches the surface of what is on at Northern Stage - there is quite literally something for all ages and interests, whether you love dance, drama, poetry or puppetry there is a show for you next season. If  you want to be more involved than a spectator then check out their youth theatre - Open Stages (ages 5-15) and Young Company (ages 16-21) - they gave a breath-taking, assured performance of part of their own work at the launch.
If you're at the other end of the spectrum you might like to join in with Read Through - a script reading group for the over 60s.

Check the website www.northernstage.co.uk to see the full programme of productions and activities and book your place.

Denise Sparrowhawk

Whatever Happened to Vandal Raptor? - Vandal Factory - Review

Whatever Happened to Vandal Raptor?  

Vandal Factory @ TESTT Space  
12th April 2018

Written by Henry Raby
Directed by Natalie Quatermass


Punk is dead. Or is it? Vandal Raptor is a punk band - an imaginary one, dreamt up by Henry Raby. Henry Raby is a punk poet. As people arrive he welcomes us and politely asks if we'd like a badge, and would anyone mind being a gig promoter for the evening...? It doesn't involve much, just one line to read out..?

Once we are all seated, he welcomes us again and encourages us to practice some audience participation for later in the show. He is quietly spoken and too polite for a punk. Henry Raby is probably the politest punk you're likely to meet, but his heart beats with punk passion and conviction. He came to punk in the 00s and regrets the lost chances to see the great bands live. He can only dream of them...and so he has - creating Vandal Raptor, the best and only dinosaur punk band!

Through the course of the hour we learn about Bert, Hog, Izzy and Kim four friends who formed a band and were going to change the world - with three chords and dinosaur lyrics. We hear about their passion for change, for kicking back against the establishment and we see how, ten years after the band split, life and growing up has changed them, moulded them into uncomfortable conformity, blunted the enthusiasm and the passion,

This show is one man's love  affair with punk, it's about rebelling and conforming, about growing up and changing, and staying true to yourself and your beliefs. It's about passion and belief, and not allowing yourself to lose sight of what's important. Through a creative mix of music, poetry, and storytelling Henry Raby gives a tribute to the punk era that is both humorous and sad. He implores us not to allow the rebellious spirit of punk to die - and we end on the Vandal Raptor battle cry - "How do you stop from going extinct? Resist! Resist! Resist!"

The venue TESTT Space is a repurposed corporate office, brown cord carpet hiding all manor of establishment stains, and a dank, damp smell of neglect pervades it - very punk! It has been taken over as a community arts venue, offering workshops, exhibition and performance space and a testing ground for new ideas- not unlike, maybe, the Raptors' vision for the derelict old New Rose Pub.

On my way to the gig I passed a homeless guy in a shop doorway, in the rain. I put some loose change in his tin, apologised that it wasn't much. He thanked me cheerfully and wished me a good evening.  A taxi driver sitting warm in his cab a few metres away called out as I passed by, "He's probably got more money than you and me, love!". Perhaps he has. Perhaps that's how you get rich in this day and age - you sit in a freezing doorway, wrapped in damp blanket and beg for loose change. And perhaps we have more need of a punk attitude than ever. Nothing much has changed - and everything has changed since the punk era. If I had seen the taxi man as I left, I think I might have gobbed on him. Don't accept things the way they are. Do your bit, however small, and Resist! Resist! Resist!

Whatever Happened to Vandal Raptor? is on tour this month - dig out your safety pins, spike up your hair and go see it if it's near you. Details of venues below. 

Denise Sparrowhawk


The New Adelphi89 De Grey St, Hull HU5 2RU
April 15th
7.30pm
Workshop Theatre
School of English
University of Leeds
Leeds LS2 9JT
April 17th
7.30pm
Pay-what-you-decide
 Hydra Bookshop
34 Old Market St, Bristol BS2 0EZ
April 18th
7.30pm
Pay-what-you-decide
 Derby Theatre
15 Theatre Walk, Derby DE1 2NF
April 20th
8pm
£8-10
https://www.derbytheatre.co.uk/what-happened-vandal-raptor
Harrogate Theatre
6 Oxford St, Harrogate HG1 1QF
April 24-25th
£8-10
7.45pm
http://www.harrogatetheatre.co.uk/whats-on/Whatever-Happened-to-Vandal-Raptor
Ovalhouse London
52-54 Kennington Oval, London SE11 5SW
April 26-28th
7.45pm
http://www.ovalhouse.com/whatson/detail/whatever-happened-to-vandal-raptor

Under Milk Wood - People's Theatre - Review

Under Milk Wood

People's Theatre
June 13th 2017


Staged as a radio play within a play, the People's Theatre production reproduces the original recording of the play by the BBC.  On stage we have a set designed as the recording studio, with organ and piano, sound effects crew, and the cast of 12 actors who will voice 45 characters from the imaginary welsh town of Llareggub.

As the audience arrive the cast are already taking their places on stage, as if they too are just arriving for the show. (in fact we saw some arriving in the bar, before we even got to the auditorium). They chat quietly together until a very plummy BBC announcer draws our attention and introduces the play. The lights dim and the recording of Dylan's "play for voices" begins.

And what a tour de force it is. We are instantly drawn in to the sleepy dreamworld of the inhabitants of Llareggub, as First Voice Frank Coles begins to recite Dylan's lyrical words. The town sleeps, dreaming of wild and and wonderful things, strange and mysterious thing, of love and lust and death and life. And gradually the sun rises and we meet the good people of the town.

The play flows through a day in the life of this little town, narrated by Frank Coles and Steve Hewitt, We meet its characters, we see glimpses into their past and their present, and perhaps their future, as heard by blind Captain Cat (Mike Smith). The words flow, beautiful and musical with lilting welsh accents and the images appear in our heads as the loving, and plotting, and gossiping carries on around us.

Photo by Paula Smart

There would not be much action to hold our attention in the reproduction of the recording of a radio play, you might think. But as the actors come forward to deliver their lines, they flounce, and slink, and creep around, casting knowing looks to the other actors, and to the audience, so we know what's going on, both in the town and in the recording studio - there are little rivalries and friendships. Ho ho!

The play is enhanced with sound effects - some recorded - bird song, cows lowing, a cart trundling by, while others are produced on stage by the actors - the rubbing of a brush against a box, the tapping of a pen against a glass.

The small details make the play. Inevitably there are some stumbles over lines - Dylan's words are almost tongue twisters at times, yet even this was skillfully fielded with a wry aside to the audience.
All of the cast do a remarkable job of remembering and delivering this beautiful, sensuous play.

Lyrical words, enhanced by a beautiful musical score, and soulful singing. Come along, lose yourself for a day in Llareggub.
You'll laugh, and love, and maybe cry a little. You may not understand all of it, but you will not forget it.

Under Milk Wood plays until 17th June. Time hurries on. Don't miss it.

Denise Sparrowhawk

Sticking - Alphabetti Theatre - Review

Sticking
Alphabetti Theatre
10th Nov 2016

Matt Miller's Sticking is a tale told in music - 12 songs, six people, one term at university. The songs are a hook to hang his experience on. They punctuate the story alongside aposite snippets from his history lectures.

His story takes us from the car journey with his dad, the arrival and claiming of his student room to the end of term. We meet his friends - new people who are firm friends after just 24 hours and we live through those days and weeks of trying to fit in. The uncertainty of being in a place where no-one knows you and realising you can be whoever you want to be, but not knowing quite who that is. He invents and reinvents himself to try to fit into this new world; caught like the sticking point on a vinyl.

He tries everything that is new, some of it he likes, some of it he's not sure about but he tries it any way. One thing that he does like is a girl. She makes his insides bubble. We all know that feeling. And we know the song that goes with it. We also know the song for crossing a line, going too far. Not being able to go back.

This is the story of the start of self discovery - half way through there is the pivot point - when he realises that he wants to be more than he is, more than a person trying to fit in, and that he can be more but that this is not the way for him, he has to get past the sticking point. By the end, he is beginning to know himself, but his journey is just beginning.

This is an emtional, joyful and intense performance. Performed in the small space at Alphabetti, with minimal staging, and bold lighting. It is intimate. Matt talks to the audience, moving forward to be just a foot or two away from the front row, making eye contact with members of the audience. We were in the front row - the intensity of his stare is un-nerving! He is full of energy and emotion, you can feel it pent up and simmering beneath the surface, then bursting out in excitement and anger and confusion.

Twelve songs. Six people (well seven people). One term. Lots of firsts. Some lasts.
We all have a history and we all have songs that evoke the memories and remind us of our journey.
It is a joy to listen and watch as Matt explores this short but pivotal piece of his history.

The last show is on Saturday, followed by an after show party - you're invited to suggest a tune for the playlist https://www.facebook.com/events/1018722578250540/ .

This is a pay what you feel performance but reserve your seat in advance because it is a small venue and you wouldn't want to miss out!
Book tickets here.

Denise Sparrowhawk