Dust is a bold, honest and heartbreaking one woman show about mental health, depression and the aftermath of a suicide.
Alice struggles with mental health and one day she gives up and kills herself, but she’s stuck. She’s like a fly on the wall, in-between worlds, watching the aftermath of her death and the effects it has on the people around her. We first meet her on the mortuary slab, where she examines her dead body, almost like she’s looking at someone else. We’re with her when she’s at her own funeral, when she commits suicide and when she wants to hug her parents.
There a light and funny times during the play, where Alice jokingly talks about things in her old life but the dark and more intense scenes, such as her suicide outweigh the lightheartedness. In combination with the mirrored stage by Anna Reid and the direction by Sarah Joyce, the show leaves an aftertaste of feeling lonely, vulnerable and weak.
The show itself has a millennial feel to it, not only because Alice is a typical millennial but it also focuses on issues like the addiction to smartphone and the constant urge to check social media that we all know to well.
Milly Thomas’s raw, vulnerable and more than honest performance transfixes the audience. I kept catching myself trying to hold my breath during certain scenes. The overall effect of the production is so powerful that it goes beyond thinking about it afterwards. It almost had a physical effect on me while watching it, unlike anything I’ve ever experienced when watching a show.
Dust runs at Trafalgar Studios until 13 October. Tickets are available here
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.
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.
The sun is out and the city is booming with people enjoying ice cold drinks. This can only mean one thing, Edinburgh Fringe is around the corner. If you find yourself in Scotland’s theatre city, these five shows could be perfect for you:
3 Years, 1 Week and a Lemon Drizzle examines the relationship between two sisters and how their close bond was affected when one of them was diagnosed with a severe eating disorder as a teenager. Recalling touching memories, laugh-out-loud anecdotes and Mars bars, this searingly frank and painfully funny two-hander examines what it’s like to live with a loved one and their mental illness. 3 Years, 1 Week and a Lemon Drizzle seeks to show the powerful bond that endures throughout mental illness and reinforces the enduring message – you are not alone. Underbelly McEwan Hall (Jersey) from 1st August at 14:25 (not 13th).
Welcome to the stimulating world of Feed where emotions are the currency and your passions and fantasies will be indulged… for a price. After the sell-out successes of The Marked and The Fantasist, Theatre Témoin return, bringing their vibrant visual style to the world of click-bait culture, fake news and cyber gluttony. Using the incisive and gleeful spirit of bouffon, Theatre Témoin explore the dark absurdity of today’s media landscape and what capitalism has turned it into. Aided by Mentoring Dramaturg Chris Thorpe, Feed looks at how algorithms and capitalism are shaping the information we receive and consume online and how this information is, in turn, shaping us. Pleasance Dome (King Dome) from 3rd August at 14:00 (not 15th).
Written and performed by Kate Kennedy (BBC One’s Midsummer Night’s Dream, Channel 4’s Catastrophe and The Win Bin), produced by Edinburgh Fringe favourites DugOut Theatre (Replay, Swansong, The Sunset Five and Inheritance Blues) and directed by Old Vic 12’s Sara Joyce (Dust, Edinburgh Fringe and Soho Theatre; Hedda Gabler, The Bunker and The Scar Test, Soho Theatre), Hunch is a dark new comedy about a superhero and her power to make gut decisions. After using this power to save the lives of others, she starts calling the shots to save her own life. This funny and heartfelt piece celebrates the individual and restores one’s faith in oneself while teaching us that, more often than not, our own gut feeling is right. Assembly Roxy (Downstairs) from 1st August at 17:05 (not 13th).
Tamar Broadbent: Best Life
Award-winning songwriter Tamar Broadbent is back and this time she’s asking – how do you know if you’re living your best life? If you’re not, how do you go about changing it? This exciting musical comedy about ambition, anxiety and avocados promises to be her best show yet. Developed by Tamar and Sara Joyce, Best Lifebrings together mesmerising musical theatre, beautifully written songs and highly relatable observational comedy for which Broadbent’s dedicated Edinburgh audiences love her. Tamar is best known for her funny, catchy songs about single life in your twenties which she has toured around the UK and internationally. Underbelly Cowgate (Belly Laugh) from 2nd August at 14:20 (not 13th).
The exciting world premiere of The Journey, written and directed by critically acclaimed stand-up comedian Stuart Laws comes to Pleasance this summer. Co-directed by Phoebe Ladenburg and starring Will Brown and Phoebe Sparrow, The Journey is a romantic comedy about a breakup, set on a spaceship. A play about self-obsession and toxic relationships, The Journey is a funny, relatable and surprising comedy following two people on the unstoppable journey of their relationship. Pleasance Dome (Ten) from Wednesday 1st August at 17.40 (not 3rd).
Tickets for any Edinburgh Fringe show are available here.
Inside Pussy Riot is a powerful and relevant immersive production that needs to be experienced.
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.
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?
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!
The Secret Keeper promises mystical mystery but only delivers cringy songs and confusing themes.
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 girlknows 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.
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 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.
Jane Upton’s ever so important and powerful play is heart-breaking, thought-provoking and cannot be missed.
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?
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.
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.
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.
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.
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 actorsaids 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.
Enda Walsh’s Disco Pigs comes to London for its 20th anniversary and brings a punch of energy and youthfulness.
John Haidar directs this upbeat, whirlwind of a story that follows Pig (Colin Campbell) and Runt (Evanna Lynch), who are born on the same day, at the same time. They’ve been inseparable ever since, dancing and drinking. They’ve created a world just for the two of them, in which they speak their own language, slang and only follow their own rules. Their friendship almost has a Bonnie and Clyde-esque feel to it, it’s them against the rest of the world, or at least their hometown of Cork. On their 17th birthday however, something changes. They find themselves growing apart.
The production manages to take the audience on the lively and adventurous journey with Pig and Runt through their life in Cork, their own little world with humorous stories and their hopes for the future.
Evanna Lynch, who is best known for her role as Luna Lovegood in the Harry Potter series, gives such a strong performance as Runt. She shows versatility and skill, switching to other characters in a heartbeat. A shimmer of dreaminess shines through when Runt is dreaming of a different life, away from her home and even her best friend Pig.
Colin Campbell is excellent as the youthful, quite intense Pig. His range of emotion keeps the audience on their toes and surprises them when he shows his true feelings for Runt, something other than just the friendship they clearly have.
Many things are left to the audience’s imagination. The movements created within the play, with thanks to Naomi Said, plays a big part of the production as it creates the space for the audience to use their own imagination. Wonderfully executed, the lighting is magnificent (Elliot Griggs) and transports the viewer into a 90s disco, with (almost) magical lighting effects.
Disco Pigs runs at Trafalgar Studios until 19 August.
It seems fitting that I meet the founders of the new theatre company Paper Creatures at the National Theatre.
It’s only morning but the National Theatre is already buzzing with people, guided tours, tourists and people who are desperately trying to get tickets to Angels in America. We find a quiet and cool space on a warm, sunny day and start talking about Flood, the debut production by Paper Creatures.
The themes were important, we wanted to look at grief within the millennial generation, humour and heart.
Flood is a new comedy drama by playwright Tom Hartwell, about Adam who is “forced to confront his future when those closest to him return after the death of his Mum. Upon their arrival, repressed truths and unsettling secrets are revealed. Flood is a complex and humane portrayal of a group of friends struggling to define themselves beyond the confines of their small town.”
Starting rehearsal on 17 July, the two talk about the first read through of the script.
The first read through was really special. It was so relatble, he [Tom Hartwell] managed to take an ancient idea of a village flooding and put it in such a modern light of 20 year olds, dealing with home and identity. We were fascinated with the idea, why is it that people want to leave their homes.
Jon and Nathan met when they were both working in an all-male Shakespeare troupe and travelled around the UK and Europe doing open air Shakespeare. “We became quite close on tour, got chatting and when we finished the tour we wanted to do something different after spending five months doing Shakespeare. We thought why don’t we put on a play?”
After seeing a lot of theatre once returned from their tour, they noticed that millennials need a “realistic and honest voice for our generation, the millennial generation, we sometimes felt we were painted a bit one dimensional.”
Also passionate about new plays, they decided to set up a theatre company.
The name paper creatures came from the paper representing the script, where it starts, the blank piece of paper. And then the creatures being the characters that come from that. We are the creatures that make the story and the theatre is the place where we perform, it’s the place where we can tell those stories.
Wanting to create a voice for not only this generation, Jon and Nathan also hope that in the future people will look back on these plays that are new writing now, but could be a potential classic in the future.
Talking about the importance of new writing, Paper Creatures explains why they’re happy to be part of London’s theatre community. “There is so much opportunity for fringe theatre, there are so many lovely pub theatres in London and around the UK. It’s thriving at the moment. It’s almost like a revolution, all these new playwrights emerging, coming out of every place you can imagine and then they get transferred to the West End.”
There is such a dynamic community of new writing on the fringe circuit in London that is dominated by the millennial generation in a very positive way and it’s so vibrant, so helpful and so supportive. It’s a really great community to be part of.
By setting up Paper Creatures, the actors want to create a “platform for young new writers, young creators from all different fields, lighting designers, sound designers, to come together and create stories which are simple, bold and compelling.”
Our long term goal is to create a really creative environment to tell these stories with our generation contributing to them, for our generation.
Flood runs as part of the Camden Fringe 2017 at the Tristan Bate Theatre from 31 July until 5 August. You can get tickets here.
A lot of young people are not interested in going to the theatre for several reasons, but the benefits of regularly seeing a show outweigh their doubts
From the Adelphi theatre in the West End to a fringe show in a 15 seat theatre in East London. The city offers endless amounts of theatrical productions. Revivals, musicals, straight plays and comedies, the choices are endless and cater to every taste. Whether you want a night of dramatic over the top colourful costumes and catchy songs, or a two-actor hour long play that will have you thinking about it for hours afterwards. The choices are as diverse as the audience, or is the audience not as varied as it could be?
According to Andrew Lloyd Webber, London is now behind Broadway with only three new musicals opening until May 2017, whereas New York has 14 new shows. Instead of supporting new work and giving new writers opportunities to showcase their work, London produces a lot of revivals. But Lloyd Webber claims, it’s not because the West End is not giving enough chances to young writers and producers. He’s criticising the lack of education in the arts in British schools. If there’s no proficient arts education in schools, how are young people supposed to get interested in the arts, particularly the theatre?
Millennials attitudes towards theatre
There’s a community of young theatre lovers in London that can’t imagine anything better than sitting inside an old building and watching people perform. Unfortunately, even more people of the younger generation have no interest in this art form or have the wrong idea about it. The most common thoughts about the performing arts are that it’s unaffordable, not knowing what to expect and thinking it’s too old fashioned.
It’s clear that something needs to change. The theatre has been around for so long, because it has evolved and changed throughout hundreds of years. From the Shakespeare Globe, with bad lighting to contemporary theatre and special effects. The theatre has to change with the times.
However, there’s something about the theatre that is captivating and magical. A good play can make you feel like the last two hours flew by in five minutes.
Culture is an important part of human development. Art has always been used as a way of trying to make sense of the world. Whether it’s through a painting, a sculpture or other artistic creations. Most plays and even musicals are written to highlight problems around the world, in our daily lives, and the way we live and how we might influence the future. Shows usually bring attention to things that should concern all of us. A lot of plays will have you thinking about its content hours after you’ve left the theatre, because you’ll be drawing connections to contemporary life.
It’s going to make you feel emotions that compare to nothing else. Having something happen right in front of you, is unlike any other medium or type of entertainment. Every performance is different, not considering the big hick ups that might happen. Each show the actors might use a different tempo in a monologue or use different facial expressions. Sometimes the energy in the theatre is so intense that you can’t help but feel excited. Being part of a show is always something unique, you’ll never know how other performances went and how other audience members have experienced it. Unless, you see a show several times, but that’s a whole new topic.
There’s a community of theatre lovers that can’t wait to share their favourite hobby with others. Whether they’re theatre blogger, frequent visitors or actively performing. Thanks to social media you can not only connect with the actors and production team of each show, you can also be part of a huge community that is happy to arrange theatre trips and share their thoughts and feelings about issues in the industry.
It’s understandable that a visit to the theatre seems a bit daunting. Not knowing what to expect, how to behave and what you’re going to experience can be scary for anyone who has no knowledge of anything theatre related. However, once you’ve given it a try and see a production that’ll take your breath away, the benefits of regularly attending shows and letting culture into your life, will be clear.