Tag Archives: camden

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.

First Supper Review – Theatre

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The Expeditionary Force presents The First Supper @ The Etcetera Theatre, Camden as part of the Camden Fringe Festival.

Sketch shows, especially ones on the fringe, are often filled with either gurning comedians constantly winking knowingly at the audience or a bunch of students throwing catchphrases and ‘wacky’ characters against the wall in the hope that one of them sticks and they’ll become the next Fast Show or Little Britain.

The First Supper by The Expeditionary Force fortunately avoids both stereotypes by assuming something rare in comedy – that its audience is as intelligent as they are. However, even if the audience was as clever as Mike Shephard, Jack Baldwin and Luke Sutherland, they’re probably not as verbose.

This sketch show happily wallows in obscure historical references, literary puns and fast talking absurdity. And, fortunately, it’s well written enough that you don’t need to know, for example, that the people who lived in the ancient Greek city of Byzantium did not refer to themselves as Byzantium to get the joke.

The gags and sketches are not your typical set up, catchphrase, punchline. First Supper often has no distinct ‘gag’ but instead, finds humour in the situation and performances. When Baldwin’s Anubis, the jackal–headed god, is introduced to the parents of his new girlfriend, it is his stoney-faced delivery of lines like: “I held her bloody heart in my hand and judged her,” that get the laughs.

The quality of the sketches does rely heavily on the performances of the three actors. Shephard brings huge energy and verve, while Baldwin, often playing the group’s straight man, offers beautiful comedy timing. Sutherland, however, often feels misused. He has an innocence that fits perfectly in some sketches, but when called upon to provide energy, they feel a bit flat.

And this highlights one of the main problems, not with the show, but with fringe show audiences. If the energy is not in the room, comedy like this suffers. It works on the premise that, even if the audience doesn’t get every reference, the energy will carry them along. If the energy falls, so does the comedy.

But these are minor quibbles. The First Supper is brilliantly written, laugh out loud funny and intelligent comedy.

However, this means that no one will probably ever see it past the sell-out audiences at the Camden Fringe. It’s too clever for mainstream audiences and too absurd for the Radio 4 crowds. But we can hope that this does break out from the fringe and into the mainstream.