Unexploded Ordnances (UXO), Split Britches (Tour)

15 – 19 May, 2018 @ The Barbican

by Lois Weaver, Peggy Shaw, & Hannah Maxwell
Directed by Lois Weaver

More dates in Glasgow, Battersea and more – click here for details

2018.01.05+UXO+photo+by+Theo+Cote.web.23

Photography by Theo Cote

 

 

American duo Split Britches bring their unique exploration of anxiety to our shores. UXO is a conversation about calamity, built heavily around the themes and imagery of Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).

The production is not your usual theatre piece, but rather a public discussion using theatrical elements. Audience members are invited onto the stage to form a ‘Council of Elders’ in a perfectly designed Dr. Strangelove Situation Room.

It’s an interesting show. It’s a look at that feeling of inescapable dread that seems to permeate everything nowadays. Cleverly, it uses the metaphor of unexploded ordinances as both symbol of the hidden dread around us, and of unexplored desires waiting to burst forth. Doom and hope.

The characters, inspired by George C. Scott’s General Turgidson and Peter Sellers’ President Muffley, are hilariously performed. Played by Weaver and Shaw, the pair give worthy tribute to some of the film’s iconic moments. They are wonderfully comic performers.

Lois Weaver duels as the night’s MC and head panellist to the ‘Council of Elders’. She leads the discussion, talking to the Council about their desires and fears (with social media being the overwhelmingly main concern tonight. As a non-elder I can’t help but feel our generations receive our existential dreads from vastly different places, but I digress…)

They provoked some interesting discussion, but as the show relies on its Council for its content, it’s at the mercy of those audience members to provide the meat of the show. It’s the audience that ultimately provides the biggest laughs and the most moving moments.

One problem with this is that not every audience member is created equal in the oratory department, and though managed well, not every audience member necessarily opens the lid on an issue with the same nuance. It also means that the discussion lacks a single direction therefore can’t go particularly deep.

On the other hand, some of the anecdotes and human moments that were brought to the stage tonight were often funny and really touching, and the mission to discuss these fears; to have an open public sharing of anxieties and attempt to find creative solutions, is an important one.

So yes, an interesting and thought-provoking show, though not one that gets the heart pounding.

 

 

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)

Tickets / www.barbican.org.uk/

Reared, Bold & Saucy @ Theatre503

4 – 28 April, 2018
by John Fitzpatrick
Directed by Sarah Davey-Hull

Bold & Saucy Theatre Company

Reared Production PhotosTheatre 503

Photography courtesy of The Other Richard

BAFTA nominated writer John Fitzpatrick has delivered a moving and marvellously engaging fly-on-the-wall family drama. It’s a character-driven piece full of surprises, dark comedy and heartfelt moments held together by a terrifically talented cast as three generations of women clash and struggle in a too-small house.

Shelley Atkinson is pitch-perfect in the role of strained wife Eileen, vainly trying to keep her household from falling apart as tensions mount. Paddy Glynn is wonderful as Nora, the acerbic and increasingly senile mother-in-law whose performance pendulums from hilarious to heart-breaking. Danielle Phillips’ rebellious teenage Caitlin too is a joy to watch, unexpectedly delivering my favourite rendition of a Lady Macbeth speech that I’ve ever seen, along with bitter sarcasm and vulnerable moments of confession as she tries to find her way. Adding to the chaos and comedy are Daniel Crossley as the avoidant and ineffectual father, and Rohan Nedd who is side-splitting as a clueless teenage love interest. They are all an absolute pleasure to watch.

In addition, Sammy Dowson has designed a set that feels like it’s been moved wholesale from someone’s actual house. It’s incredibly detailed, reeling you in from the moment you enter the space. A half empty bottle of washing-up liquid and drying dishes sit by the sink, empty wine bottles stand by the recycling bin, childhood memorabilia hang from the walls, and innumerable other pieces of family detritus clutter every available surface.

The play leaves some unanswered questions, but I was glued to my seat from beginning to end. With dynamic direction and intelligent writing, this is not a show to be easily missed.

 

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star HALF 2

Tickets

The Sleeper, Anima Theatre Company @ The Space

3 – 14 April, 2018

Written & directed by Henry C. Krempels

The Sleeper Image

On an overnight train across Europe, a British woman finds a Syrian refugee in her bed. Longlisted for the Amnesty International Freedom of Expression Award, The Sleeper unfolds as a fascinating and thought-provoking exploration of some of the twisted morality that surrounds the Syrian refugee crises.

The play draws largely from a real-life incident of writer/director Henry C Krempels, and the play very much feels like Krempel’s attempt to come to terms with his deeply affecting experience. We watch and rewatch the discovery of a young refugee girl on the train by a British woman and the train’s manager. These characters attempt again and again to uncover the truth about their unexpected guest before, suddenly, the narrative is flipped inside-out to be told from the refugee’s perspective. And by ‘the refugee’s perspective’, I actually mean ‘the actor’s perspective’.

It gets a little surreal.

The meta elements become fairly extreme, with actors breaking the fourth-wall and talking about the play analytically, questioning the narrative and characters that have been built and developed up to that point.

On the one hand, I found this incredibly jarring. Literally being told by the actors that everything you’ve just seen is meaningless goes quite a long way to undermine all narrative tension and development built to that point.

And yet, on the other hand, it’s this level of self-analysis that makes the play as unique and thought-provoking as it is. Touching on themes of privilege, moral obligation and guilt, it’s a sharp reminder that our views on the global refugee crisis can be woefully out-of-touch.

The story is helped along by it’s simple and creative set (by Jasmine Swan), and the strong cast. Sarah Agha brings wonderful power to her role. A refugee character is so often reduced to being nothing but a victim of circumstance, and one of triumphs of the play for me was seeing something a lot deeper. A refugee who is angry; frustrated by her predicament and by our overly-simplistic understanding of her narrative. Michelle Fahrenheim gives a sympathetic performance as a kind, yet naïve British traveller, whilst Joshua Jacob does a superb job as the pragmatic and occasionally sinister train conductor.

I’ve said this before and I’ll say it again, The Space programs incredibly ambitious and interesting work. Though I don’t always agree with every creative decision made in its walls, it’s a venue worth supporting, and the shows leave you thinking. The Sleeper is a case in point.

 

 

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star HALF 2

Tickets

 

 

Mirrors Siobhan McMillan @ Leicester Square Theatre

28 March – 14 April
Written and performed by Siobhan McMillan
Directed by Gabbi Maddocks

Mirrors 4. Pic Credit Thomas Ashton.JPG

Mirrors, Siobhan McMillan’s comedy at the Leicester Square Theatre, is as strange as it is dark. It is a playful, disturbing romp through a world of fairytales, online beauty bloggers, and female desperation.

McMillan begins the show as ShyGirl, a wildly unsuccessful youtube personality tormented by being constantly undervalued and stood up, and her own insecurities. In her desperation, she summons Shivvers, a witch, whose cunning and ruthlessness are matched only by the fragility of her ego.

Most of the piece follows Shivvers, on a quest to find (and murder) the woman who has usurped her throne as “the fairest of them all.” On her way to this goal, she meets a series of strange characters, each exploring a different element of ShyGirl’s insecurity.

Shivvers is played by McMillan, along with all of the other characters. McMillan brings a lively and playful energy to her roles, and has a genuine, self-deprecating comic energy that breathes life into the story. It felt as though some of the storytelling in the piece could have been made a more clear, as so much of the audience’s experience relies on McMillan’s narration, and I found we were occasionally left behind as our storyteller jumped to the next moment before we had fully grasped the last one.

Though the piece explores some very interesting feminist themes, I personally would have preferred if more work had been done to make the message surrounding those themes somewhat clearer. Though I eventually came to realize that (spoiler alert?) Shivvers was travelling through ShyGirl’s subconscious, that relationship was never made completely clear, and by the end I was left slightly befuddled as to what, exactly, the piece was saying. It was clear we were following an evil character committing evil deeds in the name of toxic female competition and false beauty standards, but what exactly McMillan and director Gabbi Maddocks wanted to communicate about that never quite made it across.

Though some of the themes seemed unclear, and the storytelling sometimes left me behind, Mirrors is a largely enjoyable dark fairytale romp. It creates a world, one of deep shame and insecurity, that can only be soothed with ruthless aggression and vicious competition.
Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)

Tickets

Thirsty! Tori Scott @ The Vaults

14th March- 18th March
Performed by Tori Scott

Tori+Scott+_+03+(1+of+1).jpg

Tori Scott’s Thirsty! is a freewheeling hour of cabaret, filled with salacious humour and honestly affecting songs. Scott slings together risqué vignettes taken from her own life with numbers ranging from Judy Garland to Janelle Monae. The result is ribald fun and an authentic New York cabaret atmosphere.

Tori Scott’s comedy is generously self deprecating, and she delivers punchlines with hilarious frankness. Her stories all riff on the theme of “thirst,” whether that be thirst for booze, and the joyfully depraved places that’s led her, or plain old sexual desire. At some point in the performance she refers to the piece as a cautionary tale, but there’s no real narrative connecting the stories, nor does our heroine seem to learn any real lessons from her experiences. Tori Scott doesn’t really want to teach us anything, she just wants to entertain, and on that level she certainly succeeds.

What surprised me was exactly how she goes about doing that. While the humour is bawdy and the comedy sharp, the real joy for me came from the singing, accompanied by Scott’s appropriately named band, The Shame Spirals. Scott is an extremely talented and skillful singer, and the generosity that she brings to her comedy is doubly present in her singing. She sings with both self-assured panache and honest, soul-baring emotion. It caught me off guard: one moment I was hearing a particularly suggestive bit about making eye contact with a public masturbator on the New York subway, and the next I was hearing a surprisingly soulful cover of Hozier’s ‘Take Me To Church.’ Like mixing sweet and salty, the contrast makes both stronger, and the variety brings a zesty flavour to the proceedings.

I did feel that the performance was slightly let down by its venue. Not by the Vault Festival in general (which is a perfect match for Scott, with its neon underground atmosphere and ready access to alcohol) but by the Crescent theatre specifically. The Crescent is a fairly conventional, pros-arch space, about as conventional as one can get in a disused underground tunnel. I’m no expert in cabaret, but to my understanding it’s most often performed in more of a pub or comedy club atmosphere, with audiences sat around tables and, crucially, the ability to get up and order more drinks. The dead-on nature of the proscenium arch and “latecomers will not be admitted” atmosphere all felt a bit too formal, and jarred slightly with the very loose energy of the show. However, I’m nitpicking, as the fun electric vibes of the Vault festival more than make up for the slightly over-formal structure of the Crecent.

If Thirsty! sounds like it would appeal to you, here’s my advice: Show up early. Take a few friends with you. Preferably, some or all of you will be gay men. This is to best enjoy Tori Scott’s many references to gay culture, terminology, and dating apps, but is by no means a requirement. Spend some time at one of the Vault Festival’s many bars, soak in the underground atmosphere, and have at least a couple of drinks. Then, get ready to sit back and enjoy some raunchy, entertaining cabaret.

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)

Tickets

Frankenstein Burn Bright Theatre @ The Space

20th February – 10th March
Burn Bright Theatre 
Adapted by Isabel Dixon
Directed by Katherine Timms
Starring Danielle Winter and Elizabeth Schenk

Danielle Winter Frankenstein

Sam Elwin Photography

Though thought-provoking, and grotesquely thrilling, Burn Bright’s Frankenstein is held back by its decision not to diverge more from the original novella. The first and most pressing way that this manifests is in its plotting. The decision to remain faithful to Shelley’s work is understandable (Frankenstein is a brilliant book after all), but it causes some problems in the pacing of the show. The story of the novella is structured in a series of arcs: the framing scenes on the arctic expedition, Frankenstein’s creation of the Monster and his flight from his home, the Monster’s description of its time living among the family in the cottage, etc. Each of these arcs serves as a self-contained episode of the story, with its own central conflict and emotional climax. Though this works well in the novella form, a problem arises when the same story is adapted to the stage — there are too many “big moments,” and not enough time spent on each one for any of them to have real weight. Why not elide some of these plot points, or cut them altogether? Why can’t we spend more time on the good stuff?

And there is a lot of good stuff to be had here. The core performances are stellar: Danielle Winter bestows this particular version of Doctor Frankenstein with a compelling mix of magnetic obsession and humanizing doubt, and Elizabeth Schenk’s Creature is truly fascinating. A loping, electric, gleeful presence, equally terrifying and beguiling. She charges the room with real horror whenever she appears, and sends a chill through the audience when we hear her bounding and cackling around us, in the shadows. Together, they achieve some wonderful moments of on-stage dread. The scene in which the Monster is first “born” was both nightmarish and exhilarating.

Supporting these performances is some legitimately thrilling direction from Katherine Timms and movement work from the rest of the cast. The scenes in the lab, in which the ensemble form the various mechanical and occult grotesques that Frankenstein uses to achieve her ghoulish ends, are particularly thrilling, macabre fun.

But most interesting of all are the ways that the piece chooses to diverge from the original. The most obvious of these is the decision to make both the Doctor and the Monster women. There are some thought-provoking ways they adapt the plot of the novella here: the Doctor in this version is Elizabeth Frankenstein, adopted daughter of the Frankenstein family. The Monster is also played by a female-presenting person, and though it was less explicit in the text of the piece (the Doctor tends to use the genderless “it” pronoun when referring to the creature) the implication seems to be that it is also female. Unlike Victor Frankenstein, Elizabeth Frankenstein cannot attend university. In this story, she is an entirely self-made and self-taught woman, learning to create life itself through the power of her will and intelligence alone. She is also unable to leave her family home after the death of her father, implying her obsession with reanimation might be an expression of her suffocated freedom. If she cannot defy the laws of the era and attend university, she will defy the very laws of mortality. There is also a fascinating parallel drawn between Elizabeth’s desire for acceptance, as both a woman in a misogynistic society and as an adopted child in close-knit household, and the Monster’s desire for acceptance by humanity.

However, the structural flaws prevent the piece from really diving into these ideas. Whenever we start to explore the very interesting territory that these choices open up, the piece is forced to move on to the next plot point. As a result, the play feels unfocused. In hewing so close to the plot of the novel, it tries to cover too much ground, and misses out on a chance to explore the really fascinating questions that make it special. I would have loved to see this piece if it was a little tighter in scope, and a little more willing to twist and mould the original story to its own ends. There is the nugget of a truly inspired story in this piece, one that explores what happens to a brilliant mind when it is not allowed to freely express itself, one that riffs off of Mary Shelley’s original story and develops its themes into a unique artistic statement. However, because the play doesn’t allow itself the time to tell that story, it never really comes to fruition. We the audience just see glimpses of it, peeking through a faithful but unfocused adaptation of Shelley’s classic novella.

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star HALF 2

Tickets

Hilda and Virginia @ Jermyn Street Theatre

27th February – 3rd March, 2018

by Maureen Duffy

Directed by Natasha Rickman
Performed by Sarah Crowden

Sarah Crowden in Hilda and Virginia, Jermyn Street Theatre, credit of Harry Livingstone. (10)

Part of the ‘Scandal’ season at the Jermyn Street Theatre, the play is a double-bill following the stories of two remarkable women. The first is Virginia Woolf, who uncovers the secrets, affairs and scandals behind her novels. The second is Hilda of Whitby, a rebellious saint from the 1st century BCE who faces a crisis of faith.

Both women are played by Sarah Crowden in this ambitious duel-story one-woman show.

Crowden’s gives an often sympathetic and charming performance. The characters are distinct and often lovable. The design changes completely between halves, going from book-filled writing office to medieval chamber incredibly effectively. Books and skulls, candles and tapestries help deliver the worlds of the play convincingly.

The action in the play however suffered from a distinct lack of subtlety. ‘I’m brilliant!’ declares Virginia, standing on a chair, before clambering down for the next line as if nothing had happened. ‘I took drugs’ she confides, extracting a bottle from a hollow book, showing us, and then taking a swig to illustrate the point. Then, whenever angry, she knocked the books to the ground.

These sorts of actions permeated the performance. Sometimes they worked, but more often they didn’t. They sometimes left the production feeling as hollow as the books.

The text itself provides interesting glimpses into the personalities of Hilda and Virginia. Insights into their lives and inner-conflicts. Duffy’s writing and Crowden’s performance elicited giggles frequently witty from the audience, who, to be fair to the show, seemed to enjoy themselves far more than I did.

So, maybe it was just me, but I was unmoved. I was unconvinced as to the reason these stories were forced together as a double-bill, and why the stories needed to be told in the first place. They felt almost entirely disconnected. If the experience of one character was meant to provide insight on the dilemma of the other I didn’t get it.

One-person shows are a tough ask for any performer. Keeping an audience engaged for any amount of time is not easy, especially on one’s own (as anyone who has ever spoken in public can attest). I admire Crowden for how well she did, but a 2-hour run-time with two mostly disconnected stories left me nonplussed.

For the most part anyway.

Make up your own mind, see what you think, and let me know?

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star HALF 2

Tickets

 

The Sound and the Fury, RCSSD @ The Pleasance

21 Feb – 24 Feb, 2018

by William Faulkner
Directed by Sasha Milavic Davies


 

The opening of the Sound and the Fury at Pleasance Theatre set the mood. Benny (Rhys Anderson) paints a lilting Mississippi-accented picture of the breezy hot plantations of 1900’s Mississippi. The actors walked on one by one, already creating an energy with which the entire play would buzz right to the end. 

We follow through the eyes of the three brothers of the Common family, as we watch them teeter and then fall down the brink of decay. From the off, it was clear that this was a creative team that had found a goldmine of current references; the struggle of race was clear, as was the struggle for power between men and women. It’s very much a story of our times. Unfortunately, I was invited to the closing night of the play – but I would heartily recommend that you read the book as well, so that you get the same messages I got.

The story of The Sound and the Fury is narrated by three different brothers: First Benjy, the simple brother, looked after by Dalsey, the housekeeper and her family, then Quentin, a Harvard student with the weight of his decaying family wealth and his love for his sister, finally by Jason, the embezzling, greedy oldest brother. The story jumps between time frames following the decline of the family through scandal after scandal. The cast brilliantly steer us through the narrative, so this is never jarring (although the first few times it was a little confusing!)

Rhys Anderson was a brilliant narrator – captivating, with great subtlety in creating his first character, Benjy, who is intellectually disabled. His complete transformation into Dalton Ames and then Herbert was so complete, that there was no doubt auto who he was playing at any one time. His sister and some-time carer Caddy was played by Emily Windham, who captured the 7 year old Caddy with delightful innocence that we hold onto throughout her ruination.

Marshall Nyanhete, who played Benjy’s carers Luster and Versh, gave a strong and solid performance which, alongside that of Angelina Chudi (playing his mother Frony), gave voice to the next generation of African American’s who wanted more than the life of a second-class citizen. They managed this with humour, asking many a person, including the heads of the family, for money to go to a music show.

Daniela Cristo Mantilla played the vivacious Miss Quentin with fire and verve, tormenting Jason, brought to life by Steve Salt. Salt brought a huge amount of energy to his characters, including a dynamic and animalistic portrayal of Jason, the embezzling brother. James Broadly created a great contrast to this in the calm and assured Quentin, played with a quiet strength. Grace Melhuish created a fantastic character in Mother, a southern belle far past her time. Her portrayal created a depth to the chaos of the family, helped along by the suburb performance from Dennis Sofian, who played Father. He also created some fantastic moments accompanying the action on his violin.

The stand out performances came from Luyanda Unati Lewis-Nyawo (playing Matriarchal housekeeper Dalsey), and Bolaji Alakija (who played Roskus and TP). Both performers gave mature and resonant performances. They brought the play’s most powerful, human moments – a simple tut, the bandaging of a husband’s hand, all creating the feeling that Faulkner wrote into the novel; that “they endured.”

I should comment that the staging and lighting was excellent. The warm haze of the Mississippi plantains could be felt from the beginning. As the family fell further and further into disrepute, the staging and lighting became more and more random and off-quilter, upsetting the view for us in the audience and creating a sense of unease and dread. The use of music was fantastic, if at some points superfluous, again, building the world for us to see.

This was a story that is upsettingly poignant for our times. The performance was slick and compelling. I just wish I’d been invited earlier in the run to encourage people to see it.

Instead, here is their Twitter: @ActingCDT. This is a group with huge talent. Follow them and go see them next time.

 

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)

Tickets

Dust, Milly Thomas @ Soho Theatre

Tuesday 20th February – Saturday 17th March

Written and performed by Milly Thomas.Directed by Sara Joyce.

Dust - Milly Thomas (courtesy of The Other Richard)_3_preview

I have no words.

I left the show with no words.

My chest was heaving and my body was spasming.

Dust is ground breaking.

A life changing show.

Milly Thomas, has previously written A First World ProblemClick Bait and Brutal Cessation all performed at the Theatre503. Dust was performed at the Edinburgh Fringe 2017 winning the Stage Edinburgh Award and now transferring to the Soho Theatre.

A play about Alice, a young woman who has just committed suicide and now has to watch her family and friends in the aftermath of the event. Passing from memories that she is forced to relive then to Alice’s current discoveries of her family and friend’s life after her death.

Milly Thomas is highly skilled in flicking from sharp witted and truthful humour to pure darkness and heartbreak. The excellent contrast of light and darkness in this play makes a beautiful roller-coaster for the audience to ride on. Milly Thomas has balanced  it effortlessly.

Thomas has guts and courage as the pieces writer/performer. She speaks in brutal honesty and says the things we think in our heads and wish we could say out loud. Although personal, she made this a universal experience for the audience with her honest remarks and quips which is what made this show so utterly moving.

What is so impressive about this performance is, although it’s a one woman show with a minimalistic set by Anna Reid (comprising of three mirrors and a morgue table), it does not feel like it. Milly Thomas  brings the presence of other characters and different settings with her. She entirely transformed herself and the space with such ease.

This play will, and has, opened up a debate and conversation about mental health issues and suicide which I hope will continue.

And I hope this play continues onto more and greater spaces.

This is a show that EVERYONE needs to see.

A show that moves you to the very core, Milly Thomas has exposed the inner workings of mental health sufferers and found humour in the darkness.

Dust needs to be broadcast round the world.

If there was one show, you made sure you go and see this year, this would be it!

Dust - Milly Thomas (courtesy of The Other Richard)_2_preview

Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)Gold_Star.svg (1)

Tickets

 

INTERVIEW with Bunker Theatre director Joshua Mctaggart!

For my readers who aren’t aware of your work, who are you?

I’m Joshua Mctaggart, I’m the artistic director of the Bunker theatre, which is an off-west end venue in London Bridge. The space used to be an abandoned car park when we first got the lease, it was very much in disarray. And then in 2016 we transformed it into a 110 seater studio theatre space with a small bar. We celebrated our first birthday last October, so just over a year now.

This season we’re launching a new season and new bar, which is exciting!

110884

Joshua Mctaggart – Photo by Simon Paris


One of the articles I read on you described you as the accidental artistic director, how did that happen?

I founded the Bunker with Joel Fisher (the current executive producer at the Bunker). He and I met in 2015 through the springboard program at the Young Vic, and we realized we had similar beliefs about how off-West End theatre should be run in a way that empowers artists. As so often happens in the arts, we sat around having coffee, talking about things we didn’t like about the industry and things we wanted to change. I was always very open about my dream of running a venue one day, with the aim of bringing collaborators together and forming artistic connections in a space.  I think there’s something really exciting about the spaces where audiences and performers meet and where people gather, and something really important about cultural and community spaces. Joel and I had similar beliefs about how we could go about creating a space like that.

Then, about two years ago, Joel and I met with a landlord to discuss this abandoned underground car park that he was using as an ad-hoc rehearsal space. It had no health and safety sign-off, no ramp, no wheelchair access. A Southwark tcouncillor told me it was a car-crash waiting to happen, which I took as a challenge! So, I spent the next 6-8 months overseeing a building site, and we eventually got the licensing and the legals and the sign off, announced in August, and opened with a full season of work in August 2016. We launched with Skin a Cat, which I thought was a very clear statement of intent for the Bunker about what we’re interested in artistically: work from points of view that we don’t always hear from, work that challenges social taboo and gender identity, feminist stories. I think it was a real calling card for us.

Since then we’ve had some huge shows, like La Ronde, which is the first play in several years to be nominated for the Best Off-West End category of the What’s On Stage awards.

Electra - Megan Leigh Mason, Lydia Larson and Samuel Martin (Credit - Lidia Crisafulli)

Electra (27 Feb – 24 Mar) – Photo by Lidia Crisafulli


You’ve talked previously about wanting Off-West End theatre to be produced differently. What precisely did you mean by that?

Well there’s two levels, there’s the creative level and the financial level. On a creative level, it was about the event of seeing the play. All too often, when people go to a play they show up five minutes before, they see the play, and they go straight home. But I’m fascinated by spaces, and so I thought it was critical for people to really inhabit that environment. Because of the nature of the Bunker, we keep the bar open until the end of the night, and we keep the doors open so that people can go back inside. I think it’s really exciting to be able to be right next to a set and be able to have those post-show conversations.

On the financial level, I’m mostly concerned with finding models of producing off-West End theatre that ensures everyone is compensated fairly, while remaining financially viable.


“Beautiful things start, and beautiful things end, but beautiful things will start again. 
I’ve found that as long as you can hold on to that,
you can get through”


What is important to you in deciding what creators you want to work with?

I’m constantly impressed by the way every creative I interact with functions in their everyday life. The challenges of being freelance and of balancing work, play and creation are enormous, and I’m always very impressed by the work people are making and the strides people are taking to be heard. I think what’s really important is that there’s a story that really needs to be told, and a passion for that story. I think it’s much more important that a story have a fire behind it than that it be ‘marketable.’ So, I seek out artists that are passionate about the stories they’re telling, and that share a passion for storytelling. Sometimes you can tell, there are some people that seem to radiate with that passion.

Electra - Dario Coates (Credit - Lidia Crisafulli)

Electra (27 Feb – 24 Mar) – Photo by Lidia Crisafulli

Electra is the next show to go up at the Bunker. Greek tragedy can be quite difficult to pull off, what gave you faith in this particular production?

When someone sits down with you and says ‘I want to take the story of Electra and make it a punk rock performance with actor-musicians. Here’s this really poetic script we’ve been working on.’ It’s impossible to say no, really. Every time you embark on producing a show there’s an element of risk, and what really emboldened me with Electra was the creators behind it, both on the writing and musical side and on the producing side.

Also, they’re a Bristol-based company (DumbWise Theatre), and I think as a London venue it’s important that we don’t get stuck in the rut of only producing work from London-based companies. It’s critical that we develop those artistic relationships and nurture those connections with artists from other cities.

 

After Electra, you’ll be putting on Devil with the Blue Dress. What excites you about American work?

I’m excited about American practitioners, to be precise. What fascinates me about America, and why I think it’s still important for us to look at it as a country, is that America is an experiment: how free can people be while still having a structure of government in place. That’s the question that America poses, and that question leads to really fascinating culture and really fascinating politics. The UK is so very different from America, and so I think that cultural exchange is very important.

I also think it’s fascinating how this particular piece has evolved as the world shifts around it. The play was written before the 2016 election, and at that time it was very much intended to be about where the first female president came from. Then the election happened, and the play became about how Hillary Clinton lost. Now, in the wake of the #MeToo movement and the many reports of sexual misconduct in Hollywood and beyond, it’s become about abuses of power by men, and the way we as a society react to those abuses.

MAINSHOW - 2

Devil with the Blue Dress (29 Mar – 28 Apr)


What is your message to creators who want to work at the Bunker?

I’m amazed by how many people come and ask me to have a cup of coffee with them who don’t know about the work we do. From a purely practical perspective, if you’re going to sit down and speak with the artistic director of a venue, it would help to have a clear understanding of the ethos of that venue. I’m generally very open to talking to people, but I would say my advice is “know why you want to be at the Bunker.” why should your story be at the bunker? Who is the audience? Where is the passion for that story? And if it comes back to storytelling and a passion for telling that story, then that’s exciting. Don’t come and tell me the story you think I want you to tell, tell me the story that you want to tell. I think that applies both to the Bunker and the industry at large.

 

Finally, is there a piece of work that changed your worldview, personally?

There are two paintings, one in the National Gallery and one in the Tate Britain, both by Turner. One is called the Rise of Carthage and one is called the Fall of Carthage. They’re two epic, beautiful paintings, one about the arrival of Dido in Carthage and the other about the expulsion from Carthage. One time, I went to the National Gallery and looked at the Rise, then walked across the river and looked at the Fall, and then I walked back and looked at the Rise again; and that reminded me that beautiful things start, and beautiful things end, but beautiful things will start again. I’ve found that as long as you can hold on to that, you can get through, whether that applies to art, relationships, or life itself.

 

 


Massive thanks to Joshua and Tilly for their time and patience, and to @samwellswriting for all his help!