Naomi Alderman and Emily Woof Reading by Rob Haughton

Firstly, and I promise this is related, I was in a bar talking with a self proclaimed ‘antagonist’ and as soon as he heard I was an English Lit grad I was in the crosshair of an elitism diatribe. Apparently, literary fiction is anathema on a bookshelf, ostracising the general public. The next night I saw Naomi Alderman and Emily Woof give readings of their Literary Fiction offerings. What followed was simply good storytelling from two individuals without pretence. On meeting the pair, it’s clear they do not live in a literati vacuum; the major passion of Alderman is her Xbox and how to save Albion in Fable III while Woof is a home-grown Newcastle actor and dramatist well known for roles in ‘The Full Monty’ and ‘Velvet Goldmine’.
Woof’s reading from her debut novel ‘The Whole Wide Beauty’ was very well handled; she talked with an air of sensitivity, showcasing the honest treatment of family dynamics and character flaws that everyone can relate to. It may involve a struggling Poetry Foundation the daughter’s abandonment of an artistic career but steers focus away from the scenery and onto the characters. Her selection provided a glimpse into what is effectively a story about life choices and I would be hard pressed to argue that the subject matter does not speak to everyone.
From the thoughtful tone and beautiful images we enjoyed the witticisms of Alderman. Her second novel, ‘The Lessons’, sparkled with a satirical view of the Oxford ivory towers. Her reading showed a narrative led piece evoking ‘Withnail and I’ and ‘Brideshead Revisited’. Alderman’s selection and devilish use of language played on the preconceptions of Oxford students; inviting us all to see through the eyes of a narrator who really shouldn’t be there. Hopeful to anyone who would probably be turned away for the gilded gates of Christ Church; Alderman lets us know that the greatest knowledge is not found at Oxford.

Paul Muldoon By Marcus Bryan

Paul Muldoon is in possession of one of the highest reputations in contemporary poetry. He has won both the T.S. Eliot and Pulitzer prizes, and according to Sean O‘Brien, who provided his introduction at Friday’s reading at King’s Hall, is perfectly capable of rhyming ‘dog’ with ‘cat’.

One might think, then, that this tidal wave of critical acclaim portends great swathes of deadly serious, occasionally headache-inducing verse not unlike that of Eliot, whose eponymous prize he won. Fortunately, this is far from the case. Both Muldoon’s poetry and on-stage persona are laid-back and effortlessly amusing; he slips almost unnoticeably between readings and conversing with the crowd, and the experience of listening to one of his poems is almost like listening to a friend telling an anecdote, albeit a friend who’s far more original in his use of language, and has an ability to coax the profound out of a tale that at first seems like nonsense.

Anyone with even a passing interest in poetry would be well recommended to pick up one of Muldoon’s ten collections from the library, and see for themselves that his work is equally worthy of popular acclaim as well as critical.

RCS's Romeo and Juliet by Rosamund Fraser

Directing Romeo and Juliet must be quite the conundrum. We’ve watched the Star-Crossed Lovers played out as Claire Danes and Leonardo Di Caprio, maybe read the play for study or watched adapted versions of it in films like West Side Story. How then does one inject a sense of the new and unique into the well-trodden path that is these two lovers’ downfall? RSC director Rupert Goold may have found the answer in his new Autumn production of Romeo and Juliet. By balancing hints of contemporary life with the Shakespearean, Goold ensures the familiar story speaks with a fresh voice. Take the costuming for example; against a backdrop of Elizabethan couture, the eponymous hero and heroine strut about in Doc Martins and Converses, offering not just visual interest but a reminder that there’s nothing medieval about falling in love. Likewise, the plays humour had a distinctly modern feel. A ten minute mime scene in which Mercutio pretends to crawl headlong into a woman’s vagina could have been plucked straight out of The Inbetweeners, or some such comedy. That’s not to say that there was any element of ‘dumbing down’; as you would expect from an RSC production, the acting was of the highest calibre. Juliet’s nurse in particular stood out as exceptional. Her motherly boisterousness exposed Juliet’s vulnerability, and in their scenes together we saw a Juliet who was less assured and more fragile. Jokes about vaginas aside, maybe it’s the powerful image of a confident young girl becoming lost that was the most accessible aspect to Goold’s production.

Peter Pan

Northern Stage

Reviewed by Georgie Cossins.

This year the classic tale of Peter Pan has come to the Northern Stage in true make-believe style. Commemorating the 150th birthday of J. M. Barrie, the Northern Stage are appropriately celebrating with their brand new adaptation of Peter Pan, showing until the 9th January 2010. Erica Whyman’s (director) configuration of a centralised stage with the audience sitting on both sides is wonderfully dramatic immersing them into the magical world of Neverland, with their experiences shared opposite one another.

The story follows Wendy Darling and her brothers who are taken to Neverland by Peter Pan where they get to have real adventures and live their fantastical bedtime stories, duelling with Pirates, saving the Indian princess and of course playing with the Lost Boys. Through the theatre we share the children’s adventure, travelling from their bedroom with the loveable large dog, Nana, to a land of shimmering mermaid lagoons and stubborn fairies, in the place where children don’t have to grow up, a place where they can have fun always… Neverland!

What was particularly spectacular was the disconcerting ticking crocodile that slithers around the stage impressively. As well as, of course the scene where the children charmingly learn to fly, adding to the magical realism of the show and creating an atmosphere of wonder from the audience.

If you are looking for something to reminisce your childhood and put you in the mood for Christmas, this is the perfect resolution.

Les Trois Mousquetaires at Northern Stage

Les Trois Mousquetaires.

Director - John Cobb.

Northern Stage.

Review by Kat Bishop.

Meet D’Artagnan, the charmingly handsome young Frenchman who dreams of joining the legendry Trois Mousquetaires. Prepare to be swept up in a hilarious adventure of camaraderie, chivalry and love, as we follow D’Artagnan from his rural family home to the backstreets of Paris. Produced by the award winning Théâtre Sans Frontières, Director John Cobb revitalises Alexandre Dumas classic tale. The story is brought to life through the hilarious misdemeanours of the quirky cast. The company is renowned for producing theatre pieces in their original language, and Les Trois Mousquetaires is no exception. The performance is mostly in French, with snippets of English and Spanish. But do not be put off! Language skills are not necessary to enjoy this delightful performance. A guaranteed laugh a minute, this comedic production combines song, puppetry and a host of eccentric characters to create a spectacle suitable for all.

Théâtre Sans Frontières knows how to put on a good show. They provided the traditional tale with a fiendish twist for the 21st century; the Musketeers are all women! Becky Jameson, Lucia Mazarrasa Llosa and Mariae Smiarowska were incredible as the macho Musketeers, bouncing and strutting around the stage with convincing virility, their joke-shop moustaches the only reminder of their real gender. Their chemistry was great. They were side-splittingly funny when interacting onstage, and the individual quirks of Athos, Porthos, and Aramis were ingeniously captured. Porthos’ hang-up about his expanding waistline was particularly amusing.

Johanne Thibaut played a very lovable D’Artagnan. This excitable character, with his boyish charm and good looks was an instant hit with the audience. Thibaut’s characterisation was spot-on, and D’Artagnan’s enthusiasm was infectious. She perfectly embodied the desire of a small-town adolescent, who itches to leave his village and lead an adventurous life. Although D’Artagnan encounters obstacles along his journey, he bounces back from disappointment with youthful vigour. He is desperate to be brave and chivalric, but his first encounter with the notorious Rochefort (played by Rew Lowe), sees him fall flat on his back. But he is not discouraged, and carries on his quest in good humour... what’s not to like about a character with such joie de vivre?!

D’Artagnan meets many characters during his adventure, and all are equally amusing. He falls in love with the beautiful Constance (played by Smiarowska), meets the scatty La Reine (Llosa), has an encounter with the hilariously geeky and camp Duke of Buckingham (Lowe), and unfortunately bumps into Milady (Jameson), a femme fatale, with a mind for money and a thirst for power. Jameson’s portrayal of Milady was brilliant. She is a temptress with a dirty mouth, who spouts some seriously inventive sexual innuendos.

This production is a laugh from start to finish. The comedy is on the right side of slapstick, and the five-man cast play each of their characters with real innovation. D’Artagnan and Les Mousquetaires get into some sticky situations, but their wit, charm and imaginary swords are the perfect weapons to put them back on the straight and narrow. The production sticks to its French roots, and the Musketeers’ adventures are accompanied by the accordion and chants of the classic Mousquetaire motto: ‘Un pour tous et tous pour un!’ This is certainly a production pour tous!

Days of Significance - Northern Stage

Days of Significance
Northern Stage, Newcastle upon Tyne
4/5
Reviewed by Hedd Thomas, Newcastle Student Radio



“You don't know what to believe in,” exposes a mate to his army friend. But when we're confronted with circumstances so terrible and so unfamiliar, what can you believe in? This is the question at the heart of Roy William's play, his response to Shakespeare's Much Ado About Nothing which, while clearly attempting to provoke our personal conscious as someone living comfortably in a safe country, focuses always on the poignant reality of being a working-class soldier sent to war.

It is the summer of 2006 and the lads are out in town, enjoying their last Friday night together before Ben (Toby Wharton) and Jamie (George Rainsford) head off for a tour of Iraq. The usual antics that accompany a drink-fuelled night out are graphically portrayed: vomit is spewed, urine is sprayed, penises are shown-off, punches are thrown... this is ASBO Central. But love is in the air, too, as both soldiers finally get the girls they've had their eyes on for some time. Out in the desert, it seems like things are much the same only on a different scale: the lads tease each other, the fists and vomit have just been replaced by blood and rifles. Underneath, however, the sights and sounds of war-torn Iraq are affecting the minds of the two love birds. When the tour is over, everything has changed and it is up to Jamie's girlfriend Hannah (Joanna Horton) to try to make sense of the secrets and to unpick the horrible lies from the even more horrible truths.

The strengths of the play lie in its relevance not only to the recent war in Iraq but also to the present war in Afghanistan. The issues raised are ones we cannot hope to comprehend and yet we feel we ought to for the characters' sakes and for our own. The difficulty in understanding these issues is superbly acted by the youthful cast of the Royal Shakespeare Company and especially by Joanna Horton who demonstrates such attention to detail. Maria Aberg's direction is also praiseworthy with slick, effective movement and an acute sense of how best to bring out the character's nature both on stage and in the two film projection scenes. She uses a good amount of comedy to break up what could otherwise be a sorrowful play, although in the final scene it does occasionally seem forced and unnatural. The scenery and lights work well, creating a strangely homely mood to the first and last scene, although this is more due to familiarity than comfort.

This is a powerful and emotive play in a style rarely performed by the Royal Shakespeare Company. Whatever your views on war and the armed forces, this is sure to make you question your convictions and see that there are two sides to every story.

Heartbreak Soup - Northern Stage

Heartbreak soup.

Director and writer: Laura Lindow.

Cast: Scott Turnbull and Chris Price.

Northern Stage.

Review by Kat Bishop.

Cuddy Gill is like every other 11 year-old boy. He is lively, cheeky and has a vast imagination. But he was born ‘special’. His skin was the colour of a blueberry... He is the blue boy. He spends an awful lot of time in his uncomfortable hospital bed, with only his teddy to keep him company as he waits for his second heart transplant. But his extraordinary imagination holds a delightful treat in store for every one of us. Cuddy tells his life story with the help of Dan, his equally cheeky, imaginary 12 year-old friend. As the friends tumble, giggle and joke their way through Cuddy’s short, but harrowing, life story, we are taken on an exciting journey of child’s play, fantasy islands, and magical roundabouts. Throughout the performance, Cuddy and Dan work their way through the magic drawers under the bed, each one containing an equally heart-warming and humorous anecdote.

Following Heartbreak Soup’s huge success at the Edinburgh Fringe Festival in 2008, the production toured nationally throughout 2009. Director and writer, Laura Lindow’s inspired story was conceived after working as a clown doctor, in the heart and lung unit of the Freeman Hospital, Newcastle. She delicately explores the ‘halfway house of the transplant experience in which so many children and their families reside’. Her wonderful production perceptively captures the exasperation of waiting and the unknown, common emotions for heart transplant patients. The choice of cast was exceptional; Cuddy and Dan were played fantastically by Scott Turnbull and Chris Price. Their performance was endearing. They combined the emotions of childish excitement and apprehension perfectly, playing truly realistic 11 and 12 year olds!
Scott’s characterisation of Cuddy was spot on. The perfect mixture of cheeky coyness and energetic on-stage manner created a lovable 11 year old, who appeared far braver than he actually let on. In Cuddy’s darker moments, Dan was there to lift his mood and remind him of the good times. Chris played Dan brilliantly; his larger-than-life attitude was both charming and amusing. Although Dan is the side-kick and always second in command, he keeps Cuddy on the straight and narrow. He poignantly reminded the audience that you have to take the good with the bad.

The chemistry between Scott and Chris was enchanting throughout. They farted, squealed and belched their way through some hilarious scenes. They set up base camp on ‘Holly Willoughby’ Island, fought off a deadly giant aorta and swam through creature infested seas... pretty normal stuff for 11 year old boys. Although comedy was a huge part of the production, Lindow never lost sight of her original question: ‘what anxieties and understandings hide under the bed of a child pre-transplant?’ There are some heart-wrenching moments, where the tears flowed freely, but the balance between the serious and comedic is perfect.

Lindow approaches the traumatic reality of heart surgery with real sensitivity. What could have been bleak turned into an enjoyable exploration of the infinite possibilities within a child’s imagination. This is a must-see production for children and adults alike. We guarantee it will be loved by all.

Heartbreak Soup - Interview With Chris Price

Due to an unfortunate dictaphone malfunction, our interview with Chris Price was not recorded. Talking to Chris was fantastic. He was as full of life and as charming as his character. He seemed on a total high after the production, and his enthusiasm was infectious.

When asked whether he found it hard playing a comedic role within the confines of a potentially traumatic situation, he said ‘not at all’. He explained how remaining emotionally distant from the medical issues allowed him to fully embrace the innocence and care-free nature of Dan. Getting too emotionally involved could have potentially changed Dan’s untroubled persona.

We were curious whether Dan had changed over the year, and Chris talked animatedly about the growth of his character. Chris said Dan had developed as his performance became more refined, and his presentation of Dan changed from night to night. The chemistry between Chris and Scott allowed them to successfully improvise and play around with the characterisation of Dan and Cuddy. I was intrigued to know what Chris was like as a 12 year old boy. Was he as cheeky and lovable as Dan? ‘Yeah I was pretty similar’ was our answer. He played such a convincing mischievous boy of 12; it would be hard to imagine him as a shy and retiring youth!
Finally, when questioned if he missed Dan after performances finished, Chris responded with a cheeky smile and an enthused ‘Of course!’ He has played Dan for over a year now, and it is extremely obvious Chris is as much a part of Dan, as Dan is of Chris: A big friendly bundle of energy.

Kat Bishop