Scary Shit
Saturday 20 February, Rich Mix & Friday / Saturday 26 & 27 February, The Pleasance, London.
(Don’t) be afraid. (Don’t) be very afraid.
Urban.Theatre.Dance.Performance.London.@jendubble
Wednesday, 17 February 2016
'I know there's gonna' be good times' in 2016 for the following reasons:
Hello!
It has been a while since I have posted up about a show, and I am returning to say 'Hey...I'm back!'
My short time away from the blog has really been due to tending to my 'career garden of life' (and expanding my corny vocabulary).
Since starting the blog, I left my beloved Drama department in very good hands, and decided to pursue what might be called a Portfolio Career. So now, I have a Radio show on Vibe 107.6 in Watford, I present across various different platforms, I teach, act,
write comedy and perform as part of a sketch duo.
So just a few small changes that I've been adjusting to since leaving the security of my full-time job!
write comedy and perform as part of a sketch duo.
So just a few small changes that I've been adjusting to since leaving the security of my full-time job!
Writing this blog over the past year has taught me to never give up and follow your dreams, as so many of the performers I have written about or interviewed have demonstrated. They have been truly inspiring, and I hope this blog inspires you to seek out some of the fantastic dance, theatre and comedy shows that are coming up this year in my treasured city.
Whether you are visiting from afar (do come in) or live around the corner (local estate or mews development) all are WELCOME!
Whether you are visiting from afar (do come in) or live around the corner (local estate or mews development) all are WELCOME!
Come and enjoy the bloody great talent that we've got...because we've got bucket loads!
Hope to see you around
Jen x
Tuesday, 24 November 2015
WONDER.LAND: NATIONAL THEATRE (OLIVIER)- 24.11.15
The saying 'curiosity killed the cat' could have many meanings when it comes to the famous tale of 'Alice in Wonderland.' If i'm being honest, my curiosity for the production had waned a little since booking tickets back in July.
This was by no means because I didn't think it would be any good...it's been on my 'SHOWS COMING UP' list since I started the blog! If I were to self diagnose my lack of awe and wonder at this stage, i'm prescribing a case of 'all Alice'd out.' Having put on two 'Alice' productions in my previous Drama teaching career, you get a little 'squeezed' of all creative thought avenues with this story.
Thankfully, a long enough gap had passed between my 'Alice' shenanigans, and there have been so many non-Alice events that this had enough exciting elements to prick my ears up again.
After chewing the fat about our semi-crap past few weeks, my buddy and I arrived tired but caffeinated to a lobby full of technological interactions! This snapped me right out of my commuter frenzied state and hooked me into the present moment. The ideal mind-set was emerging as I waltzed around creating an avatar on an i-pad, taking Cheshire Cat selfie's and making music 'a la BIG' on a plasma screen. My friend and I were in the perfect playful mood and we grew curiouser and
curiouser.
Why should you go and see this?
The play isn't a re-telling of 'Alice', but uses Alice as a stimulus to layer another story on top. We meet Aly, who is a young mixed-race girl, and is finding it hard to deal with being a teenager that isn't comfortable with who she is.
Aside from her 'Kevin and Perry' approach to her views on her Mum ('Your Mum' by the way is one of the simplest yet catchiest songs of the production and will be playing over in my head tonight guaranteed) Aly's endearing yet irresponsible 'Russell Brand-alike' father lives apart from her. She's also being bullied about her weight and how she looks by three charming teenage girls at school.
Cue the disaffected teenager who seeks life online storyline. Except, this wasn't the package we were delivered. Aly who sets up an account on gaming site 'Wonder.land' makes an Avatar so different to herself, that it takes up the form of familiar blonde, petite Alice. She decides to explore the online world through her avatar and in doing so, takes a journey that lots of us may have experienced growing up; a joy-ride in trying to work out who we are.
Alice goes from self-loathing, to different emotional states throughout the story, and we get to see flickering moments between 'online' and 'real-life'. The use of projections was excellent and the graphics were ingenious (as the National Theatre always are when it comes to this kind of stuff!)
The play didn't just highlight the 'escapism' and artificial side of having an online presence, but it also examined how it could be an amazing and creative outlet. It didn't just have a 'bash' at youngsters either which I felt was more representative of daily life. I spend as much time on my phone now as the average teen, not because I'm a disaffected person, but because I'm doing more work in the media industry and have to plug away at my social media and constantly apply for things!
Costumes were impressive yet unpredictable, with one of the most amusing costumes being the oversized Mouse who also gets the award for funniest lines in the play:
'Hiding underneath this fat mouse face is 100% DENCH!'
Best bits for me were:
- The initial appearance of the floating 'Alice Avatar' and the use of the gauze and projections to create the illusion that she was in a virtual world
- The White Rabbit who reminded me of Donnie Darko
- The Caterpillar and his 'body parts'
- The Zombie attack scene which was choreographed so well and the use of graphics and animation here too
- The Teacher was a very strong character and most popular with the audience. An example of excellent casting
- The 'tube' being created out of trolleys and a moving slow vehicle-I never get tired of a theatrical 'tube' representation I must say!
I also thoroughly enjoyed the score and could feel the blurry touches of Damon Albarn all over the place. There was a funky yet indie feel to the music, but musical conventions were not neglected and at times, even the 'slowies' which normally send me to sleep had some wonderful harmonies.
There were highs and minimal weak spots. I liked the 'father' character, but felt his scenes held less strength in them. This could be due to the 'believe-ability' factor, although it wasn't entirely lost on me.
I was impressed and left smiling 'Cheshire Cat style' after this, and it had everything a modern National Theatre production should have. Go along and expect to be delighted!
Sunday, 25 October 2015
INTO THE HOODS REMIXED- PEACOCK THEATRE: 24.10.15
I'd have to agree with Emma Thompson on this one...yes THE Emma Thompson who said that 'they (ZooNation) are one of my favourite things about this city'.
This show pretty much encompassed everything I love, not only about London, but also my teenage years, my fondness for dance and generally everything that I think is important.
I have decided that this post will take the form of a list, otherwise I am in danger of dramatically hero-worshipping for the whole post and I've already done that before.
Please see below for a list of things that this production included that were important to me, and will hopefully resonate with you when you go and see it (oh you must!):
1. A well chosen selection of hip-hop music, edited neatly, including big favourites of mine such as (oh wow I'm having to put a sub-section in the sub-section here):
a) Outkast-Ghettomusick
b) Teardrop-Massive Attack
c) Heard em' Say- Kanye West ft Adam Levine
d) Witness the Fitness- Roots Manuva
e) Overnight Celebrity- Twista
AND MORE (or I'll be here all night)
2. Thoughtful, fast-paced, slick choreography that showcased the dancers skills, the neat editing of the music, and just generally they were (to quote the great Ashley Banjo) ON POINT!
3. A witty narrative- just when you think it will get predictable (which is part of the charm of a fairytale right?) The story 'nips it in the bud' before your brain has to, so you get a feeling of being in-tune with the show. Clever or what!
4. That lighting tho'! ZooNation always get me with this one. Well done Jenny Kershaw (lighting programmer) for those colourful spots and areas that get lit up when the rest of the cast are in darkness...I liked it...I liked it a lot.
5. Animation- A huge 'big-up' here to the animation team. A stand out section had to be in Scene 3 when we were touring 'Beanstalk Towers' and being led up and down the building. That gave me a definite idea of overall style and looked effective. It reminded me a little of the animation used in 'The Animals and Children took to the Streets' by 1927 who are renowned for their stunning animation. However it still had it's own identity, and my personal favourite sections were Spindarella's character entering the ball, and simple moments like the spinning Vinyl's and Jaxx's timer appearing on the wall. It all added huge effect.
6. High levels of creativity- There aren't many shows that can execute what ZooNation manage to achieve here. Firstly the 'spin' on the characters themselves is clever and hilarious. 'Rap-on-Zel' particularly got a huge laugh at the announcement of her name. Jaxx (who get's a little rendition of a Basement Jaxx song every time he appears) as a take on Jack at the basement of 'beanstalk towers'. 'Big Teef' records in which Wolf is the Boss.
This is why I feel so strongly that we should take our kids to see this. In schools that are working creatively, this way of thinking and adapting will very much compliment their sense of invention and adaptation for their story-writing. We know and teach 'Magpie-ing' so that children know they can take ideas and add it to their nest of creativity. Adapting is something they are very familiar with and can use more and more to improve their work. The creativity in this show is inspiring and ingenious and it left a mark with many in the audience of varying ages.
Stand-out performances were given by Natasha Gooden who played Lil' Red. I was blown away when I saw her at the Freestyle Funk Forum earlier this year (see the post about it here) because her musicality and strength are off the scale. She hits every movement and beat so sharply that it's like watching a solo optical illusion! Corey Culverwell who I recognised from previous shows and of course from BoyBand on Britain's Got Talent this year also deserves a mention for very similar reasons. He has mastered his craft well and it shows.
I hope my list gives you an idea of how nuts I am about this kind of theatre, but also the reasons why. If you want something that will make you proud of our city, that will entertain you, that will challenge your children and make you laugh , and that will remind you that dancers aren't there to perform behind someone on a festival stage, but are there because they truly deserve it...get down to see this, before it sells out!
Tickets can be booked by following this link:
Into the Hoods: 23.10.15-14.11.15
@zoonation
@jendubble
Friday, 23 October 2015
INTO THE HOODS-REMIXED: IT'S BACK! 23.10.15-14.11.15 PEACOCK THEATRE
IT'S THE HIP-HOP STORYTELLING EVENT OF THE YEAR!
This is NOT a show to be missed.
The twisted Hip-hop fairytale which originally hit London's West End in 2008 has been refreshed, revamped, re-jigged, re-buffed, re-whateveryouwannacall it! It's been given a makeover and brought right up to date.
It's set to have the humour, wit and pace of the first show under the direction of Sadler's Wells associate Kate Prince who is, quite frankly, a NARRATIVE WIZARD if you ask me.
What's more, if you're not based in London, it doesn't have to matter this time, because it's going on a national TOUR.
YES!
This is a big deal for ZooNation as the Peacock Theatre is usually the only spot to catch them doing their thang when they work on a large scale.
Tour Information:
London, Peacock Theatre
Wolverhampton, Wolverhampton Grand
Blackpool, The Grand Theatre
Dartford, The Orchard Theatre
Leicester, Curve
Truro, Hall for Cornwall
Sheffield, The Lyceum
Brighton, Brighton Dome
Southampton, Mayflower Theatre
Canterbury, Marlowe Theatre
Manchester, Manchester HOME
Show outline
Set in the ‘Ruff Endz Estate’, the story follows two lost school children who have been tasked to find an iPhone as white as milk, trainers as pure as gold, a hoodie as red as blood and some weave as yellow as corn. Along the way, they meet DJ Spinderella, wannabe singer Lil Red, vivacious rapper Rap On Zel, budding music producer Jaxx and embark upon a storybook adventure into the heart of a pulsating community!
Sure we can all take our kids to the pantomime, and sure pantomimes have their place in the theatre world (a very important place as well) but trust me, take your kids to be inspired by a show like 'Into the Hoods-Remixed' and they will thank you for the cool choreography, the massive music, and for being on their level.
Children's story writing and creativity in the classroom is on a higher level than ever before, and finally there is a production to match the imagination we require from our kids.
To find out more and to book tickets, click on the link below:
Tickets for: Into the Hoods- Remixed 2015 Tour
Tuesday, 15 September 2015
PREVIEW: Interview with BOTIS SEVA: In No Form 24.09.15-25.09.15
I got myself down to the Lilian Baylis studio yesterday to speak to Botis Seva, another man in Hip-Hop theatre who is trying to make a change.
It was a pleasure to meet him and have a chat about his company Far From the Norm and what is to be expected in his upcoming Wild Card performance at the Lilian Baylis studio next week.
It looks like we can expect the unexpected and to get prepared to actively participate.
It's Urban Immersive Theatre season for me- I'm liking it!
Seriously looking forward to seeing this one, and if you haven't got your ticket, check back for returns, because he's so good, he's SOLD OUT!
THE DEN: Hackney Wick-Swan Wharf:12.09.15
I don't really know where to start with this post. I'm still so overwhelmingly stuffed full of flashbacks, reflections, sights and smells, that I'm struggling to assimilate a neat little packaged blog post that will do this production justice. As always...I will try my best.
After my visit to see the set the weekend before opening, I had an idea of what was to come, but I wasn't prepared for the bravery and guts that came with the experience we had that evening.
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| Pre-show props |
Equipped with two of my very good friends in the audience, we waited outside the warehouse before the start, and were soon met with some 'youfs' shall we say; confident, cocky and dishing out papers as a pre-show present for us all in the queue. Each paper had something different written on it; 'Keeper', 'Breeder', 'Fighter' or 'Undecided' at the top, and the DEN rules underneath. So we knew there was going to be some participating, some splitting up maybe? Reminiscent of 'Punchdrunk' I thought I would get ready to listen a little harder, as I know that you get out what you put in with this kind of show.
After being ushered into a dark waiting area, a sharp spoken word opening by Rizza (Sam Rix) set the tone for where we were about to enter, a playground perhaps? What kind of playground would be worth seeing? The suspense was reeling in the air.
The curtain was raised and a large cast scattered in a dream like tableau throughout the immaculate cotch that Rufio and the Lost Boys could have only dreamed of building in 1991's Hook movie. A caravan, wooden huts, a cage, scaffolding even a chill out area (which we were later familiarised with on our guided tour). An endless childhood dream-den; earthy, dusty and 'beach estate' chic is what we were going to spend the next three hours in.
After an introduction to various key characters in the Den, a Fast and Furious car entry and a heroic leap from a first floor, we got the idea. These kids were tough, and clever, and they had made a life for themselves outside of zone one, in the year 2101 where childhood is banned outside of central London, and if you survive in zone one, you live a life that is so restricted, that you may as well not live at all. It is a place where youth is welcomed, adults are a no-no and when you reach your 18th Birthday, you must passover. Be gone. Commit to death.
That brings us to the current state of the Den. After being given a chance to walk around freely we were ushered into a cage, as Den members told us to 'zip, Freshie, zip' (Den language for 'move new kid move'). A brilliantly choreographed battle took place as we looked on from the cage, and the 'fighters' showed us what they were made of. I took note of characters 'Brutus'(Giles Maythan) and 'George' (Elinor Machen-Fortune) as their tough guy and girl characters stood out.
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| George, Abrun and the audience in the courtyard |
In a world where we are being surprised and shocked less and less, moments arose where surprise was in fact the key element. A girl whom we thought was a 'freshie member' with us, was directly addressed to come forward. We learned that she (Liz-Beth played by Elizabeth Mary Williams) was desperate to escape the miserable existence of the 'real world' and was eager to join this community where she could be a mother and breed with her partner. Upon being sniffed out as a fraud by George, she reveals that after deceiving Den Master Abrun (Lewis Griffin) that she was 15, she was in fact 18. You can only guess what happened to her, and it was a gunshot that was used on this occasion. We learned then that the Den was BRUTAL.
After being split into our various groups, different characters toured us around the courtyard and the warehouse, explaining their role in the community and the important part they all played in making it work. The set was like a fantasy squat. It was scruffy and almost unliveable for some, but so cleverly recycled that it was satisfying. As a 'keeper' I was shown around by 'Ash' (Emily Owens) who revealed the DM room that nobody goes into, and the breeding room where 'you know what' happens. It was planned to such detail, that even a film set couldn't have topped the intricacies that went into this convincing backdrop.
After hearing the hustle and bustle of the other groups being toured around, we were all brought together into the celebration area, given apples and treated to an explosive tribal dance (hats off to Cindy-I wanted to join in) before settling in to experience the final dues to Abrun, who had clearly become a much coveted leader and was reaching his 18th Birthday. By this point, we had all warmed to Abrun, and he had the right amount of endearing-ness for me to shed real tears at the thought of him stepping down and committing to death. THAT is how involved we all were at this stage.
After an interval, we returned to the celebration of Abrun's reign, and a series of 'best-man' style speeches were given in an ode to him and his leadership. A touching song led by Ash and the cast created an emotive soundscape making it all the more upsetting. This was added to by an interpretive movement piece from character 'Hermese' (Gracie-Jayne Angel) and a tribute from Abrun's love George.
All the arrows were pointing to Abrun choosing his half brother Chase (Bruce Langley) to take over the Den as leader. In an indecisive moment, Chase showed that maybe he didn't have what a leader needs, and as the audience were split again, we were left in a room with Abrun, who tells us of his desire to remain a leader for a little while longer. This is much to the dismay of his pack who are starting to go loopy at the possibility of who will be chosen next, each one of them thinking they may be a better suitor, each one of them losing the plot in their teenage angst.
The surprise entrance of a pregnant lady (A Norwan played by Emmeline Prior) presented a huge moral dilemma, and provided the route of the story with a winding path and a much needed adult perspective to shed light on the chaos that was starting to prevail.
I don't want to go into too much detail as to how this piece ended. I have a deep hope that it will run again and I wouldn't want to write out everything in case it took away from a future experience that I hope more people can have (although I would love to as I have so much to say!)
This is by far one of the best pieces of immersive theatre I have been a part of. What a talented woman Gbemisola is to think up a production that poses so many questions about our youth, and the future that lies ahead, but also to give this age group a voice through such an engaging platform. It posed so many questions, some rhetorical, some that urgently needed answering, but this plot was certainly challenging.
There was no pretentiousness, no £50 tickets, no 'untouchable abstractness' and no moment that wasn't worth lapping up.
This was a piece that everyone could grasp, and the environment created by the set designers was so real. When talking to people afterwards, comparisons were being made to the 'The Beach', 'Lord of the Flies', 'Animal Farm', and even 'Kidulthood' sprang to mind.
A huge well done to Cindy Claes for directing the movement and choreography which had a gritty afro-tribal feel, and Brian Appiah Obeng, the Parkour master for their input to the show. I could see how their contribution had made the piece so up to date and extra dynamic.
A final mention to the UNBELIEVABLE cast. You were all so inspiring, believable and memorable. I bet you will all remember what a great experience it must have been to be a part of this, and it was mentioned more than once by some of you that it was down to Gbemisola Ikumelo's inclusive and empowering direction style that gave everyone what they needed to perform the way they did.
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| Emily Rose Owens who played Ash |
I've never been so certain, that this needs to run again. No. this WILL run again.
When it does, you should run with it. Don't be afraid to visit...THE DEN.
To find out more about Faith Drama and their projects go to:
http://www.faithdrama.org.uk
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