Author Archives: James Reid

Karenina in Camden

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Walking in to the small, cosy auditorium of the Lord Stanley theatre, I had little knowledge of the story of Anna Karenina. After the show, I left with a comprehensive understanding of the tragedy. Victor Sobchak’s adaptation clearly revealed the intricacies of the relationships of the protagonist, as well as those around her, which I am sure was no mean feat against the works of Tolstoy. Throughout most of the piece, the text was given life through a mixture of solid acting, and technical support. However, much of the action took place against the back wall of the stage, leaving a large space between the action and the audience. I found myself craving proximity, and was rewarded with this when monologues encouraged it.

Anna’s husband, Alexei Karenin (played by Ian Sharrock), took the space when enlightening us upon his disgust at his wife’s unfaithfulness. Sharrock’s portrayal of Karenin’s gradual demise into pathos was touching to watch. His brave character choices were followed consistently, working well in opposition to those of Lucia Edwards’, playing Anna. The result was a bizarre, but real sensory aesthetic that was unashamedly thrust upon the audience. Edwards’ choices were far more subtle, with a gentler, contemplative approach to her interaction with others. Without a doubt, on the whole, this worked. On occasion, however, the character could have explored her primitive, guttural angst, letting her hidden frustration rear its head, and upping the ante for some of the more heart-driven scenes.

The music and choreography worked particularly well during a movement sequence in which Anna was symbolically impregnated by a kind of metaphorical sense of impending doom, represented through physical theatre. The lights turned blood red as sinister laughs from the wings transformed themselves into bodies, fingers and limbs, moving around the space, and smothering Anna’s aching body.

There was a tendency towards speaking quietly and intimately, sticking with the realism of the style, but losing some theatricality that keeps us engaged. However, this sense of theatricality was revitalised when Jamie Hufges-Ward (playing Stiva), Lily Alyss (as Betsy), and Nalan Burgess (Kitty) began to speak. This contrast in vocal energy and range was a welcome boost from the general intimacy of the piece, allowing the story to be shared more directly with the audience, whilst retaining its truthfulness.

The play is a dark, but gentle introduction into the world of Tolstoy. It is sure to be of interest to those familiar with his works, and worth a try for those who want to be. Theatre Collection’s adaptation of Leo Tolstoy’s ‘Anna Karenina’ plays at the Lord Stanley theatre until the 16th October.

Parade – Theatre Review

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I have wanted to see the musical ‘Parade’ for a long time. Sitting across the road from the Southwark Playhouse before the show, I overheard a man say to a woman: “Cheer up, you’re about to see the saddest musical every written!” And so I waited eagerly in anticipation.

Set in the 1910s in Georgia, we follow the tragic story of a Jewish factory owner, Leo Frank, as he is accused of abusing and murdering Mary Phagan (Jessica Bastick-Vines), a young girl who worked for him.

A drunken reporter, played by David Haydn, sobers up to return as a master of spin. He and Hugh Dorsey (Mark Inscoe), prosecution lawyer, rally up public support, and convince members of the community to bend the truth, and more often than not, to lie about their experiences of Mr Frank.

His only hope of rescue from a public hanging is his loving wife, Lucille (Laura Pitt-Pilford), who tugs at the heart strings of Governor Slaton (also David Haydn). He agrees to stand up for Leo, a man that he believes is an innocent outcast. Are these efforts enough to save him from the fury of the masses who need to see justice done, quickly?

Suffice to say, each and every singing voice was capable of setting the heart racing. The discordant harmonies of the chorus were touching, unsettling and emotive, and though I am not a trained singer, it was rare to hear an unsupported, pushed note from this experienced and talented cast.

Before we fully meet the protagonists, a distraught and dazed Frankie Epps (Samuel J Weir) recalls how young Mary’s ‘smile was like a glass of lemonade’. The song was delivered with a beautiful subtlety. The lyrics are so highly personal, that the performer needs a deep internal understanding of the character and his position in order to deliver them with complete truthfulness, which Weir was on the verge of.

Alastair Brookshaw (as Leo Frank) gave an equally strong vocal performance. I was touched on several occasions by the honesty of his performance, in particular when he sang to his wife, finding the confidence to simply say (possibly for the first time after years of marriage), ‘I love you’. However, the honesty was not consistent. The choice to listen intently to what the text tells us about his character’s nervous mannerisms was commendable. However, in times of extreme hardship, even the most agitated of people might break from their habitual mannerisms, look people in the eye, and show some humanity.

Both Laura Pitt-Pulford as Lucille Frank, and Terry Doe, in various roles, stood out as giving full commitment to the finer details of their performances. When Lucille begged for the Governor’s help, and when Riley (Doe) hit the deck, when singing about the injustice of a juridical system that prioritises murder of white victims in the courts, there was no rest from the illusion that they had created.

I have not commented on every performance, but that is no negative reflection on the others. A strong cast, fantastic set, and sharp direction by Thom Southerland and co. left us with something to think about. I wanted to be moved more, but I blame it on that man I overheard before the show, preparing me for floods of tears.

Fate on the London Fringe

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‘As Fate Would Have It’, produced by LittleBerry Productions, is the debut play of up and coming playwright Phoebe Hunt. It follows the two possible lives of a couple, Damien and Grace, who agree to toss a coin to decide whether they stay together or break up. The story unfolds with episodic scenes following both strands of possibility. In one strand, the couple stay together, continuing the increasingly unhealthy habit of making decisions by the flip of the coin. In the other strand, they break up, setting Grace free, while Damien continues to allow the coin to decide his fate.

As Grace, Phoebe Hunt made the most of the challenging transitions between depression (when with Damien) and glee (when set free from his ever increasing evil clutches). Her bright-eyed smile allowed the audience some breathing room, giving us a break from the relentless tension, and the pathos of her alternate situation. Jamie Hutchins, playing Damien, gave a very specific performance, in both vocal quality and physicality. The way he tossed a coin to make a decision for the very first time, uncertain and tentative, said a lot about his journey when contrasted with his eventual habitual attachment to the ten pence piece. Dinarte Gouveia (Michael) delivered his frequent comic lines from the heart, without force, and Jamila Jennings-Grant (Agatha) gave the audience a voice of reason, with her powerful portrayal of the best friend a girl in a bad relationship could have.

The entire play was accompanied by the composition and live performance of Matt Gaydon on the guitar. Whilst the music added a lot to the moments of heightened emotion, I personally found it occasionally contrasted the feelings expressed by the actors, and needed more variation in melody. Saying that, it served an important purpose when signifying to the audience that we were now changing episode from one strand of reality to its alternate, and back.

The script is cleverly written, though sometimes merging style between naturalism and poeticism, occasionally making believable delivery difficult. Though I admired the unrushed scene changes upstage, the activity downstage could have been more engaging in order to distract us from the movement of furniture. Otherwise, Cat Robey’s direction encouraged high stakes, and a gradual build towards a thoroughly gripping climax.

“As Fate Would Have It’ plays at The Space, Isle of Dogs on the 10th and 11th August, and at The Lion and Unicorn on 14th and 15th August. It is definitely worth a watch, but if you can’t make it, keep an eye out for future productions by LittleBerry Productions.