Tag Archives: london

Circa: Peepshow – Meet acrobat Ela Bartilomo

The Underbelly Southbank festival is in full swing and combines the best of Udderbelly Festival and London Wonderground, to bring you the best in circus, comedy and family entertainment.

Taking over Underbelly’s spiegeltent with a night club vibe is Circa’s Peepshow. Most of Peepshow’s music is an original track written by Ori Lichtik (Batsheeva Dance Company) with an interlude of Sweet Dreams (originally by Eurythmics). Peepshow lets audiences see the world from the other side of the mirror and turns cabaret on its head, literally.

Playing with the extreme physicality of this troupe of phenomenal acrobats, Circa blur lines between movement, dance, theatre and circus. Exploring the concept of looking and being looked at, Peepshow uses circus to explore themes of gender and sexuality on the stage.

Circa presents Peepshow at Underbelly Festival 2018 (Photo by Pedro Greig) (2)
Peepshow’s acrobat Ela Bartilomo |Pedro Greig

Millennial London spoke to one of Peepshow’s performers, acrobat Ela Bartilomo to find out more about the production:

Describe the show in three words.

Perception, Reality, the-space in-between

What part of the show amazes audiences the most?

Whilst the solo moments allow the audience to get to know each performer, and vice versa, the large pyramids of people stacked on top of one another seems to astound the audience. Especially when they appear under the stunning lights designed by Jason Organ.

What do you enjoy about being part of the production? 

There is so much I enjoy about the show – the shift of worlds, the challenging of expectations and the representation gender. Most of all I enjoy having the ability to truly be myself onstage. Though it’s great to step into a show someone else has performed before you and experience their world, there is something awesome about knowing you can show the audience as much of you as you want.

What does being an acrobat as part of Circa mean to you?

Being a Circa acrobat to me means being part of a family with one unanimous goal which is to make our audiences feel something. I am honored to be part of a company that is so respectful, kind and caring to one another, though there isn’t really another way to be in this kind of work. As our director Yaron Lifschitz said, “we are not male, female, young, LGBT, old, experienced, or new; we are all just acrobats, unique acrobats of course, but equal”.

What current themes are reflected in Peepshow? How are they explored?

The biggest subject we explore throughout the show is the way that our society perceives women, and men. Inspired by the world of a Peepshow, where men come to look at women to fulfill their own sexual desires and women come to make money and pay the rent. Through a cabaret/ burlesque inspired first half we portray an image of beauty and desire. However, in the second half of the show, we learn that our perceptions are not our realities and come to the great realisation that the image of sex is a façade, and that sexuality is not what we see when we look for it, but something that we find when we express ourselves. This is where our acrobatics have the ability to be raw and unfazed by any expectations we have set up earlier. In fact, we don’t even give our audience a chance to see the fast-paced toss sequences, or 3 back saults in a row as things move fast, that’s reality.

What do you want the audience to take away from the show?

In an ideal world I would love the audience to look back at the show, obviously impressed by the skills throughout, but more importantly, inspired to look at things differently, and realise that things that conflict our existing beliefs are genuine opportunities. Uncertainty and discomfort should be places to dwell and let your perceptions explore, like visiting a marketplace in a foreign country, our assumptions are our greatest downfall.

 

Circa’s Peepshow runs at Underbelly Festival until 18 August 2018

Paper Creatures Theatre: Section 2 – an honest portrayal of mental health

A year after their successful debut production Flood,Paper Creatures Theatre are back at it again. This time they’re showcasing their play, Section 2, about mental health as part of the Breaking Out season at the Bunker Theatre.

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Section 2 | Paper Creatures Theatre

Jon Tozzi and Nathan Coenen, the founders of Paper Creatures look back at their first year: “We knew that it was a great show and that we had a great team behind us. Having a sellout run, with lovely reviews confirmed to us that we need to keep doing this and that it wasn’t just a one off for us. We were passionate about it. We met loads of new people and hopefully gained new audiences and now is our chance of spreading that net wider and reach new people”.

For their new show, the duo found playwright Peter Imms. Section 2 tells the story of Cam who is sectioned and how this affects him and the people around him.

 “When we read the script, both Jon and I were really blown away by how glaringly honest it was – a portrayal of what being in a mental health facility and being sectioned was.”

Coenen continues: “There’s a lot of mental health plays being done right now, but something about sectioning specifically and doing it in such a realistic way, really piqued our curiosity”.

Their goal for this new production is to demystify potential misconceptions about sectioning and the people that are sectioned. “People who’ve been sectioned have told us that they don’t really want to talk about it publicly because they’re afraid it might affect their careers or relationships. The desire to do this play has now spiraled into this passion to be able to hopefully create a piece of theatre that has a lasting effect on the audiences that come to see it, and hopefully create more of an awareness of this subject of sectioning”.

Jon: “We were very keen that it wasn’t just a production about what it’s like to be a patient. That’s something that Peter Imms wanted to address, that it should be a piece about the people around them as well and the importance of that and how it doesn’t affect just one person but it affects so many people.”

Paper Creatures got director Georgie Staight on board.

“They sent me the first draft and it was the writing that spoke first and even that first draft was completely beautiful which meant that I wanted to work with them.”

Jon: “I think it’s a very educational piece. The audience will come out of this knowing a lot more than they did before going in. The audience should feel like they’re a fly on the wall with this production. That they’re watching a real situation just pan out, because it’s coming from a place of such honesty”.

Director Georgie on working with the space in the Bunker Theatre:

“The story focuses around these people surrounding Cam. You see Cam in different kind of stages of distress and comfort. I’m interested in how we stage and play out Cam’s mental state. A lot of it can be portrayed physically and metaphorically and through sound and staging. The Bunker is an interesting space, you have to tailor it specifically”.

Another thing that was important to them was to raise awareness and start a conversation about mental health and being sectioned. “We know with the play there has to be an element of outreach to it. So from the get go we got in touch with the charity Mind and they’ve been so generous with their time. I’ve spoken to about eight individuals who’ve previously been sectioned. We have some short films for the public to see and open up the conversation. We’re also going to do post-show talks with the creative team, people who have been sectioned and charity representatives so we can contribute to this debate.”

Section 2 plays at the Bunker Theatre on Tuesdays and Fridays from 11 June to 7 July. Tickets can be booked here.

Inside Pussy Riot | Review

★★★★☆ Les Enfants Terribles, Saatchi Gallery

Inside Pussy Riot is a powerful and relevant immersive production that needs to be experienced.

Inside Pussy Riot - Les-Enfants Terribles - Production Shot
Roseanna Brear| Kenny Mathieson

In all honesty, I was very nervous before going into the play. Having previously read about Pussy Riot and Nadya Tolokonnikova, I couldn’t imagine how this would be turned into an immersive production.

Naturally, when being led into the first room, I was nervous. Surprisingly, Inside Pussy Riot starts out light and funny, when the audience are led into a room and an ‘incapable’ tour guide welcomes everyone. This was great as this made all of us feel more relaxed and it was a nice ice breaker to the experience.

Then we are led into a cathedral and encouraged to take part in a short protest, to show what we believe in. We get caught and arrested, interrogated and sentenced to labour camp and experience things similar (but toned down) to what Nadya went through during her time in the penal colony.

Inside Pussy Riot - Les-Enfants Terribles - Production Shot
Kenny Mathieson

However, having been to other Les Enfants Terribles productions, this one slightly dissapoints. Some things feel a bit forced and not as natural as in previous productions. There are also parts that slow down the story-telling.

Nonetheless, Inside Pussy Riot feels contemporary and right at the time, hinting at a Trump-led America and the Weinstein scandal that led to the uncovering of countless of other sexual abuse cases in the entertainment industry. It sets up the audience with just the right amount of anger before we are encouraged to vocalise our beliefs.

Another great thing is that it feels like a very millennial way of showing people social issues around the world. Instead of reading or hearing about those issues, we get to experience it, which has a much deeper impact. We walk away finding ourselves thinking: Would I stand up for my beliefs? How would I react in the same situation? Would I be brave enough to stand up for myself and for others?

Inside Pussy Riot - Les-Enfants Terribles - Production Shot
Kenny Mathieson

It seems as though the intention was to raise awareness of oppression, the judicial system and injustice, what happened to Nadya and other members of Pussy Riot and how quickly basic human rights can be taken away from you. As well as adding that typical Les Enfants touch of quirkiness to it, this was completely achieved.

Inside Pussy riot is an immersive production that needs to be experienced. It raises attention to important issues and shocks the audience, so be prepared!

Inside Pussy Riot runs at the Saatchi Gallery until 24 December.

@LesEnfantsTerr

 

Stick Man | Review

★★★★☆  Scamp Theatre, Leicester Square Theatre

Sally Cookson directs Stick Man and enchants kids with delightful music, creativity and playful characters.

Stick Man - courtesy of Steve Ullathorne_9
Lara Cowin (Stick Lady Love), Sam Heron (Stick Man) and Alex Tosh (Musician) | Steve Ullathorne

The best-selling adaptation by Julia Donaldson and Axel Scheffler returns to the Leicester Square Theatre for the festive season. 

When Stick Man accidently gets pushed into a misadventure and taken away from his family, he sets out on a long journey back to find his tree and family again. On the way he encounters people and animals that often confuse him with an ordinary stick and he gets lost even more. Will he ever find his way back home?

Children’s laughter echoes through the theatre ignited through the shows comedic value, that even leaves adults chuckling in their seats. The whimsical stage design thrills and engages everyone in the audience, keeping children captivated throughout the performance. 

Stick Man - courtesy of Steve Ullathorne
Alex Tosh (Musician), Sam Heron (Stick Man) and Lara Cowin (Stick Lady Love) | Steve Ullathorne

Sam Heron embodies Stick Man and gives the character a voice that young audiences can interact with, while Lara Cowin plays his wife and other endearing characters. Everything that happens to Stick Man, Cowin conveys with charm and comedy.  

Alex Tosh (Musician) emphasises and compliments what’s happening in the play, with sounds and music. Many things are purely conveyed through music and choreography which sparks imagination and creativity in kids and adults alike.

Stick Man - courtesy of Steve Ullathorne_13.jpg
Sam Heron (Stick Man), Lara Cowin (Stick Lady Love) and Alex Tosh (Musician) | Steve Ullathorne

The show is an hour long which is the perfect amount to keep the children entertained without them becoming bored of sitting still. Every time the young ones engage in the play, many of their faces light up with excitement. It also breaks up the show, so they [the kids] don’t get restless.

This Christmas production fires up children’s imagination with props and loavable characters. A perfect family show to see during the festive season.

Stick Man runs at the Leicester Square Theatre until 7 January 2018.

@stickmanlive 

 

The Secret Keeper | Review

★★☆☆☆  National Theatre Studio,  Ovalhouse

The Secret Keeper promises mystical mystery but only delivers cringy songs and confusing themes.

The Secret Keeper - production image 1 - Angela Clerkin (photo by Sheila Burnett)
Angela Clerkin| Sheila Burnett

In a fairytale village the daughter of the Dollhouse maker has a ‘gift’. She helps her father by keeping his deepest and darkest secret which changes him. He tells everyone to share their most intimate secrets with her to feel better. But what happens when one girl knows all the secrets in the village, including who killed her uncle?

Going into the theatre the atmosphere is eerie and promises a night of gothic and mysterious tales. However, that is only partly the case. The show switches between styles, which is confusing and lowers the quality of the production.

The Secret Keeper - production image 4 - L-R Niall Ashdown _ Angela Clerkin (photo by Sheila Burnett)
Niall Ashdown and Angela Clerkin | Sheila Burnett

It starts out feeling like a fairytale and the audience expects to watch a gothic style play, but then the style suddenly switches to a much more modern tone. This ruins the illusion and rips the viewer out of the story. The constant switches make it difficult to get lost in the play.

Things happen that don’t need to happen as they don’t help to tell the story and move it along, such as spontaneous singing.

The Secret Keeper - production image 6 - L-R Anne Odeke _ Niall Ashdown (photo by Sheila Burnett)
Anne Odeke and Niall Ashdown | Sheila Burnett

The spontaneous songs might be fun in a different, more modern setting, but with the fairtytale-like setting they seem silly and unnecessary.

Parts of the production were confusing, such as the gathering of the secrets. It wasn’t needed for the development of the story as the Good Daughter already showed that she was struggling to keep the secrets in.

Overall, the intentions of the production were good with a great storyline. The premise is intriguing but the execution of the production thoroughly disappoints.

The Secret Keeper runs at Ovalhouse until 21 October

All the Little Lights | Review

★★★★★ Fifth Word, Arcola Theatre

Jane Upton’s ever so important and powerful play is heart-breaking, thought-provoking and cannot be missed.

Esther-Grace Button & Tessie Orange-Turner in ALL THE LITTLE LIGHTS by Jane Upton - credit Robert Day
Esther-Grace Button and Tessie Orange-Turner |Robert Day
In the midst of rubbish, wrappers, empty bottles and fallen autumn leaves just off the railway tracks, three young girls are celebrating a birthday. Joanne and Lisa reunite, while Amy wants to belong. Lisa got out, but now she’s back and their past is haunting her. Where alcohol abuse is celebrated, a life threatening game where entertainment and violence is normal. In a society where the forgotten just want to belong and predators lurk around the corner. When does the victim become the villain?

Tessie Orange-Turner & Sarah Hoare in ALL THE LITTLE LIGHTS by Jane Upton - credit Robert Day
Tessie Orange-Turner and Sarah Hoare | Robert Day
The play makes several important points. No one cares about children without a family, how easy it is to turn villain after being the victim and the horrendous, long-lasting effects of sexual abuse.

In times where you can’t flick on the news without men getting away with saying things like “grab them by the pussy” and making it seem normal, and Harvey Weinstein who uses his powerful position to sexually assault women, this play needs to be seen. It needs to be seen now.

People need to be made to feel uncomfortable, their hearts need to break for the girls and what they’ve had to go through.

Tessie Orange-Turner & Sarah Hoare in ALL THE LITTLE LIGHTS by Jane Upton - credit Robert Day
Tessie Orange-Turner and Sarah Hoare | Robert Day
All three leading ladies, Esther-Grace Button, Sarah Hoare and Tessie Orange-Turner are remarkable. It cannot be easy to convey three forgotten and vulnerable teenage girls, who all have had horrible things happen to them, but Button, Hoare and Orange-Turner take the audience on a dark journey through unimaginable experiences.

Jane Upton’s script, directed by Laura Ford is simple, touching and shocking that will have the audience holding their breaths.

All The Little Lights runs at the Arcola Theatre until 4th November.

Flood | Review

★★★★★ Paper Creatures Theatre, Tristan Bates Theatre

Flood is a flawless debut production for Paper Creature Theatre and another hit for Tom Hartwell.

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Emily Céline Thomson (Jess), Nathan Coenen (Michael), Jon Tozzi (Adam) and Tom Hartwell (Ben) | @HeadshotToby

While his village is flooding, Adam feels like he’s drowning with it. His mother has just died and all his friends have moved away, closer to the capitol. Everyone is moving on with their new lives, millennials leaving the village in search for a better future. Adam  feels abandoned by his friends and sister. When his friends return to the village for the funeral, secrets are uncovered.

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Jon Tozzi (Adam) | @HeadshotToby

Playwright Tom Hartwell creates a wonderfully slick and heartfelt play that flows from scene to scene with characters that feel natural. The comedy drama deals with millennial themes such as how our culture is dominated by viral videos, occupied by the constant use of social media and how it’s made us lazy when it comes to social interactions. As well as all this, the play also touches on how millennials deal with loss and bereavement.

We find ourselves sending condolence messages and birthday wishes over social media which have just as much meaning as poking someone on Facebook. Hartwell seems to be able to tell relatable stories about different aspects and hurdles of millennials’ lives and finds the right tempo and tone with ease, by creating characters that are relatable and real.

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Tom Hartwell (Ben) and Molly McGeachin (Laura) |@HeadshotToby

Adam (Jon Tozzi) and Michael (Nathan Coenen) compliment each other well and have a fun character dynamic. Jess (Emily Céline Thomson) brings a slightly more mature note to the play with her  relationship with Michael that is moving forward and developing through the play. Overall, the chemistry between the actors aids the brilliant direction by Georgie Straight.

From the set that looks like floating furniture in a flooded basement, to the swift and creative scene changes, everything in this play works together perfectly and turns this debut production into a must-see for Paper Creatures Theatre.

Flood runs at the Tristan Bates Theatre as part of the Camden Fringe until 5 August.