REVIEW! Baby @ Bread and Roses Theatre, Clapham Fringe

Written by Rebecca Saffir
Directed by Jenny Horsthuis
Assistant directed by Sam Moody
Produced by Ellika Heribertson and Holly Salewski

Baby is a current, comic and poignant new play written by and starring Rebecca Saffir, and directed by Jenny Horsthuis. Focusing on love, in almost every sense, and the realisation of what it means to become an adult, this impressive premiere production took place at the Bread and Roses Theatre as part of Clapham Fringe.

Baby brings a difficult, and sometimes heartbreaking, slice of life to our attention. The protagonist; a young woman Vee, played by Rebecca Saffir, is suffocated by her home city travels to London to her lively friend Tash, played by Harriet Leitch. The raw, emotional and comical reunion ends in a spontaneous night of dance, drugs, and a funny yet conceivable one night stand with an overly confident male character Elliot, played by Lewis Page. This swift yet clear introduction of Vee’s life is then followed by a tough decision which, she believes, will not only affect Vee’s life but hundreds of others – all depending on the gender. Resulting in Vee having 4am bursts of doubt and struggling between the ethical logistics of what is right and what she truly believes to be only choice. The story line was captivating, yet the second half was slightly fragmentary in comparison to the depth at the beginning. Nonetheless, this first performance of the show was superbly executed and fully understood by the audience.

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Rehearsals: Rebecca Saffir, as protagonist Vee.

Saffir’s deft writing keeps the energy charged through out and continuously builds on the relationships between characters. It was refreshing to see brilliant new writing directed and performed to its potential. The cast were dynamic and engaging in their performance, and certainly brought life to the intimate black box theatre. Harriet Leitch, as Vee’s ardent best friend, nailed comical moments with her zealous expressions and her perfect timing. All the actors, under Jenny Horsthuis’ direction, make good use of the space and you immediately accept the minimalist design. With no set or costume changes, the piece relies on the entrances of characters and the occasional apt dance music to transport us, which works reasonably well in the compact Bread and Roses theatre, however some costume changes may work in favour of the plot, especially if performed on a larger scale.

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Rehearsals: Harriet Leitch and Rebecca Saffir as Tash and Vee.

Royal Court alumnus and creator of Baby, Saffir says, “The seed for this play was planted when I noticed how often I thought to myself, ‘Men are trash. ’ I became interested in following and exploring what might happen when you follow that thought to its most extreme conclusion. I wrote Baby to discover what happens to those of us who have read their theory and know their facts, and then have to bring those beliefs to bear on the real world.”

A play of contemporary relevance, talented actors, and emotionally striking text, Baby certainly has a bright future after this exciting premiere.

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Previous review:  BIRTH @ Pleasance Courtyard , Edinburgh Fringe

REVIEW! BIRTH @ Pleasance Courtyard , Edinburgh Fringe

Conceived & Directed by Guillaume Pigé
Devised by The Company
Performed at Edinburgh Fringe until 25th August

In the busy queue amongst the Edinburgh Fringe goers the excitement for Theatre Re’s BIRTH was high, and rightly so! As this was one of the most beautiful pieces of theatre I have ever seen.

Theatre Re, known for their international success Nature of Forgetting (which I was lucky enough to see last year), has not let the bar drop with this new production BIRTH. Guillaume Pigé has directed another wonderfully human and tremendously moving performance, this time exploring the sensitive subject of child loss and foundations of family.

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The black box theatre was minimalist; with a dimly lit dining table centre stage. As soon as the performance started the mesmerising music, composed and performed live by Alex Judd, gently guided us into the world of physical storytelling and I was completely immersed within seconds.

Ultimately, it was the continual flow of the performance which I found most impressive – the energy never dropped. Not even during transitions, which can sometimes be a productions biggest flaw, however Theatre Re found an aesthetically creative and efficient way to slip into the next scene; by flowing a giant sheet over the whole stage as characters appeared and disappeared almost like a beautiful magic trick.

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The story follows three generations of women in one family; non-chronologically showing each of their lives and how their experiences intertwine with each other. One of the highlights of the piece being when Emily, played by the extremely talented Eygló Belafonte, gives birth. Instead of the generic panting and pushing, Theatre Re have found an amusing and artistic way of portraying this with a detailed dance between the husband and wife, and ending with a marathon sprint with cheers of encouragement from the whole family, this may sound simple but it was so unbelievably effective.

Throughout the performance I heavily reflected on my childhood, my family, and my sisters, and was certainly not the only one with tears in my eyes. It is safe to say that Pigé has created such a memorable and dynamic piece of work, which should be performed all over the world. The company have an astounding ability to devise such original and heart felt moments, I congratulate them on their much deserved success.

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REVIEW! Naked People Waking Up @ Etcetera Theatre, Camden Fringe

Directed by Olugbeminiyi Bammodu
Devised by Concept Theatre
29th- 30th July 2019

Naked People Waking Up was a perfectly minimalist production, focusing on the text and the capable cast to take us through the very different lives of each character. Performed in the slick black box theatre at Etcetera Theatre, the performers’ ability to multi-role and find the truth in the text made the different scenes believable without needing extravagant set.

The relatable protagonists consisted of a middle aged impolite man with a comical demeanour, a woman focusing all her attention on the lack of attention she receives from her father, a young lad working in Wetherspoons despite his degree and intelligence, and an even younger school boy working on his confidence… and they wake up in an empty room together in there matching underwear  (I wasn’t 100% sure why they would all have the same underwear, but soon realised it was practical for the frequent multi-rolling and in keeping with the minimal style).

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The comical young school boy with a modern tongue and wise heart, played by Kyll Anthony Thomas Cole

The story was very clear from the start, although I felt the beginning section – where the characters woke up and met for the first time – was slightly rushed and could possibly be developed further. However the show progressed at a great pace, with the characters regularly being tossed into various flashbacks and interesting memories which allowed us to build our understanding of each storyline gradually. Too often we are spoon fed theatre, but Concept Theatre has created a strikingly fresh piece of work here.

There were many highlights to this show; the audience responded extremely well to the comical moments of the piece – jokes involving cheap Wetherspoons food etc – which gave the show a lighthearted atmosphere, only to bring us straight back in with emotional monologues of realisation. In particular, I was blown away by Cathy Parkin’s ability to bring text to life and draw us in with her emotion. All the cast were emotionally committed through the text, however I would love to see the physicality brought to life even more.

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A troubled young woman who comes to a deep realisation on what matters most. Played by Cathy Parkin

An honest performance highlighting the pressures we put on ourselves when we lose sight of what matters – in life, in love. Naked People Waking Up encourages the audience to reflect on ourselves and the choices we make. Overall, this was a well-rounded performance with a talented cast and brilliant director, a must see!

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Previous review: Mating in Captivity @ The King’s Head Theatre

REVIEW! A Winter’s Tale @ The Warren, Brighton Fringe

Director: Myles O’Gorman
Assistant Director: Sophie Leydon
Producer: Frances Livesey
NEXT SHOWING: The Warren, Brighton – Sunday 26th May – 6pm

A Winter’s Tale is not the first Shakespeare play we recall, although it is named among the best of his final plays, and in this adaptation by Helikon Theatre Company I can certainly see why. This tale of desperate jealously and shocking tragedy was cleverly adapted to fit our modern world, and with their talented cast and creative directing, it was a wonderful performance.

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Emma Blacklay-Piech (Mamillius) and Rhonwen Cash (Hermione)

With a simple, modern set complete with a projector and live streaming camera, O’Gorman created an outlook which was immediately familiar with the audience. The camera was mainly used to display the King Leontes, played by ALRA graduate Conor Kennedy, addressing his subjects (the audience) to update them on political and personal matters. The days passing were also projected as well as intimate moments in the garden between Hermione, played by Lindsey Huebner, and Polixenes, played by Lanre Danmola, which were obviously  prerecorded yet added another layer to this dynamic production. However, using so much technology within a Fringe performance can cause problems… my only fault with this piece would be the technical cues and accuracy.

The colloquial phrases interspersed with the original Shakespeare text added comical moments and also allowed the audience’s auto-translator (which we all have watching Shakespeare… don’t lie) to take a break. The main actor, Kennedy, truly grasped the comical timing of Shakespearean as well as the adapted moments of modern text. The energy and emotion he brought to the space was honest and powerful, his portrayal of Leontes’ distracted mind, stubborn outlook on his wife’s affair, and later heartbreak was all spot-on and heartfelt.

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Conor Kennedy (Leontes)

This emotionally charged piece found creative ways to display the more challenging moments of the script, for example the three deaths which drives the plot and gives depth to the characters and the text. (No spoilers here!)

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This radical portrayal of A Winter’s Tale was refreshing, dynamic and most of all well performed. I would certainly recommend a trip to Brighton to catch the last showing!

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Previous review: A Winter’s Tale @ The Warren, Brighton Fringe

REVIEW! A Hundred Words for Snow @ Trafalgar Studios

Writer: Tatty Hennessy
Director: Lucy Jane Atkinson
Performed by Gemma Barnett
5th March-30th March

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Photo credit: Nick Rutter

A Hundred Words for Snow is one of the best solo shows I have ever seen, masterfully directed by Lucy Jane Atkinson. The piece was beautifully written by Tatty Hennessy. Without a shadow of a doubt, it is a fantastic five star show.

The Show follows the story of Rory, a likeable and funny 15 year old girl, who sadly has just lost her dad. Rory’s dad was a geography teacher and would-be explorer. He planned an exciting and almost impossible trip to take Rory to the North Pole, but never had the chance. Rory begins a journey all the way from England to the North Pole, carrying her dad’s ashes in her backpack which she plans to scatter at the North Pole. It is so fantastic to see an empowering story about a strong, courageous but also perfectly normal teenage girl. A very refreshing change!

Gemma Barnett is a fantastic performer and a perfect casting for Rory! She has the audience in stitches throughout the piece and is a lovely but also painfully relatable portrayal of a young teenage girl. Gemma played all the characters in this piece, including her mum and the people she met along the way. I was so engaged in every single one of them that I felt like there were two people on stage. It was clear the audience absolutely loved Rory and were supporting her every step of the way.
The design of the show was great. Christianna Mason created a space which was beautiful and the audience believed for every second they were on Rory’s journey with her. There were several effects in the show which were a wonderful part of the storytelling, for example a fan blowing and suddenly the audience were transported into a helicopter in the north pole. I was completely magicked away from London and placed thousands of miles away, which is precisely the reason I adore theatre.

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Photo credit: Nick Rutter

A Hundred Words For Snow is a beautiful piece of theatre which I would highly recommend to everyone, with a faultless performance from Gemma Barnett. It’s fantastic to see this story being put on front of an audience and it is very important to show these stories of young girls. The story really was like nothing I have ever seen on a stage before and I loved it. I cried tears both of sadness and joy. This show will inspire you to go on an adventure, pick up a book or call your loved ones. Personally it reminded me of my childhood where I was desperate to go on adventures around the world like my parents had done. I have since become nervous and scared about doing this, but this show has inspired me to get out there and do it.
Unmissable.

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Previous review: It’s Not A Sprint Novae Theatre @ Vault Festival

REVIEW! Smack That (a conversation) @ Ovalhouse

Creator & Choreographer: Rhiannon Faith
Producer: Maddy Morgan
Run: 27th February – 16th March @ Ovalhouse

Smack That (a conversation) spoke volumes last night at Ovalhouse – addressing the serious matter of domestic abuse and sharing honest accounts through party games, audience interaction and dynamic choreography.

A close cast of six women, a mixture of non-performers and experienced dancers – all having experienced domestic abuse – welcomed us, the audience, in to Beverly’s party. They were all wearing the same sparkly dress and had the same silver hair; it was obvious they were all Beverly, and as I was passed a name sticker with ‘Tree Bev’ on it (because I had a tree of life necklace on) I realised we were all Beverly too. This persona (a similar setup to the play Abigail’s Party by Mike Leigh) was used to narrate a collection of real life experiences through several methods – choral speaking, energetic movement sequences, and individual monologues (to name a few!).

Rhiannon Faith, Smack That (a conversation), Production photos

Rhiannon Faith, the creator of this powerful piece of theatre, has not only directed captivating and emotional material but she has also simultaneously created a safe space for the audience to wordlessly share their own experiences if they wanted to. This was accomplished through the use of well known party games such as ‘What would you rather…’ with an effective arms up or down method, and ‘Never have I ever’ (a interactive game in which you stand if you have done/experienced what is being said) which started off as “Never have I ever been sick at a party”, for which over half the audience stood up. Then, as the audience became more confident, the statements gradually became more personal; for instance; “Never have I ever been humiliated in front of people I care about” and “Never have I ever had a knife held to my throat.” With this change the atmosphere was tense and emotional as people around the theatre stood.

There are a number of measures in place for the audience’s well-being, for example: a chill out area for anyone needing a break from the show for personal reasons; a qualified therapist at the ready; information available about receiving help from services such as Woman Said. This is one of the first performances I have watched where the audience members are supported and cared for in such a humane and positive way, and this of course provides a comfort to those who did find themselves opening up throughout the performance.

Rhiannon Faith, Smack That (a conversation), Production photos

Stories told verbally and stories that were embodied were equally as moving and raw, and all performers had their own strengths and weaknesses. Some slightly improvised transitions between games, interactions and dances were slightly lacking momentum but this is likely to improve further into the run. Overall the group was clearly connected and acted as a true ensemble. However, one cast member in particular – Valerie Ebuwa – deserves a mention, as she blew me away by being extremely talented both vocally and physically.

You can see the time, research and care gone into this project and its outcome is a shockingly emotional, yet powerfully factual one. Rhiannon Faith has opened the audience’s eyes wide as well as their hearts – this dance theatre piece is like no other, and certainly not to be missed.

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Previous review: Cacophony, Almeida Theatre @ The Yard

REVIEW! Welcome to the UK by PSYCHEdelight @ The Bunker

Director and Lighting Design: Sophie NL Besse
Assistant Director: Gareth Watkins
Music and Songs: Tamara Astor
Movement director: Peter Pearson
Running Dates: 22nd January – 16th February 2019

Welcome to the UK is a carnival comedy with a heart of gold. Created and performed by PSYCHEdelight – a company dedicated to giving asylum seekers a voice – whom are well known for their successful 2016 satire comedy Borderline. Welcome to the UK is the next chapter after Borderline, with a cast from 13 different countries all sharing moments of their personal journey through epic theatre techniques.

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Welcome to the UK Cast on stage at The Bunker. Photo: Jose Farinha

The fun circus style and patriotic set design of union jack coloured bunting and flags gave us a warm welcome as we entered the space. Opening with burst from the energetic compère, played by Reuben Williams, we are immediately asked to think of a dream and blow it into the balloon left on our seats. After direction we all threw our airy dreams (pardon the pun) onto the stage… only to realise the balloons were for the rifle range at this warped carnival and it was perhaps not going to be all fun and games after all.

The next 70 minutes was a whirlwind of fun fair activities masking the challenges refugees face when trying to claim asylum and build a future in the UK; menacing pigs in the haunted house portraying the fear in an arranged marriage, a home office interview displayed as a series of ridiculous questions from a mystical gypsy, a refugee’s struggle to meet tight deadlines reworked as a UV video game. Each scene was imaginative and comedy fuelled, however the show lacked slick transitions and the energy on stage regularly fluctuated.

Aesthetically the piece was very strong; the diverse ensemble using physical storytelling (such as a literal emotional roller-coaster, which certainly made me giggle), the bright (and sometimes sparkling) costumes, and most of all the intricate lighting design which was effectively utilised to change the atmosphere throughout.

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A scary Teresa May (Left) controlling the hamster whirl effect. Photo: Jose Farinha

The hostile environment created for the asylum seekers was a reflection of the UK’s decisions and policies, and this was clearly conveyed. There is no denying the importance of the show and the extremely current issues surrounding the topic. Watching the talented asylum seekers perform with such enthusiasm (particularly Mohand Hasb Alrsol Badr, who made me chuckle constantly) and listening to their experiences in a way that we can all learn and laugh was brilliant.

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An overly sympathetic ‘Mary Poppins’-esque character. Photo: Jose Farinha

PSYCHEdelight has again produced a platform for expression, and whilst making us giggle they provoke us to think, to consider, to empathise. During this wacky performance there was one particularly powerful and unsettling image; Abdulrahman Salama (a Syrian refugee) sat alone on the top of a ladder throughout with a single orange balloon, holding his phone and waiting in distress for news of his family. A constant reminder of the harsh reality between the laughs.

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Previous review: Outlying Islands, Atticist @ King’s Head Pub Theatre

REVIEW! BRAWN, Chris Wollaton @ The Space

Director: Richard Weston
Actor & Writer: Chris Wollaton
15th-19th January 2019

BRAWN is a one man show, and this one man is certainly more than enough. Chris Wollaton, who is not only the actor but also the writer, dominates the stage with his words and his chiselled physique.

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The Space is a great space for this minimalist piece of theatre; one black chair sandwiched by two large dumbbells. The fantastic acoustics guides Wollaton’s voice around the room, even at a whisper, which helps to transport us to Ryan’s garage-turned-gym where the play unfolds. Directed by Richard Weston, BRAWN shines a spotlight on the little known subject of muscle dysmorphia.

Ryan first enters the space in an obvious rush and starts working out almost immediately, raising his heart beat before removing his top. Bare chested he begins boasting in the ‘mirror’; “I’m a sexy beast.” These comic moments provide a light relief from the constant flow of gym culture.

Body obsessed Ryan gradually reveals aspects of his life which drove him to this physical and mental torment, which he obviously perceives it as a positive and focused mentality. The damage done by societies outlook on what masculinity is, and continuously advertising ‘perfection’ as a well defined muscular body, is evident and perhaps slightly repetitive. Ryan talks of how girls want to see a t-shirt tight against his ripped body, however he also delves into his past friendship with a girl from school which displays a softer side to him. These moments of gold where he forgets his weight lifting regime and shares heartfelt accounts with the audience shows the vulnerability underneath the lean figure. Chris Wollaton refers to this in the Q&A as a attempt to ‘influence men to notice what creates a real connection’.

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It is clear that the bigger Ryan’s muscles get the more suppressed his insecurities become. This is a sad fact of many young men with body dysmorphia growing up with a warped view of masculinity. BRAWN is a must-see play, full of energy and covering a rarely addressed topic but one of upmost importance nonetheless.

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Previous review: Seussical the Musical, Immersion Theatre @ Southwark Playhouse

REVIEW! Canary by Fun In The Oven @ Circomedia, Bristol

Director & Dramaturg: Andrea Jiménez
Movement Director: Noemi Fernández
Cast: Katie Tranter, Robyn Hambrook, Alys North
Next Show: 30th Nov 2018 (Newcastle)

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The three Canary Girls receiving their beloved letters. Photo Credit: Chris Bishop

I watched Canary at the UK’s largest circus centre; Ciromedia, in the heart of Bristol, and what a magnificent stage for an energetic company like ‘Fun in the Oven’ to perform on. There was an abundance of space but every inch was kept alive throughout by the capable performers, the genius comedy, and the representation of such a strong topic.

This topic being WW1’s Canary Girls (don’t worry, no one watching knew of them either!), thousands of courageous British women doing more than just ‘their bit for the war effort’. Due to the lack of men, these ‘unsung war heroes’ were assembling TNT bombs everyday in factories; extremely dangerous work which gave them a number of health issues… one of which turned their skin yellow! (hence the makeup choice in Canary). 

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Playing ‘Truth or dare’. Photo Credit: Chris Bishop

Whilst addressing this unique gem of history the talented cast showed us the life of three workers; confident supervisor Agnes, naive football lover Betty, and a slightly older upper class volunteer called Anne. After a quick clip of footage displaying some overly happy WW1 propaganda, Fun in the Oven takes hold our emotions, making us laugh, cry and in awe of their slick physically and strong ensemble. This was particularly prominent when they demonstrated how the women assemble the bombs, taking us through a conveyor belt of movements with a brilliant cheery voice over (by Lawrence Neale) encouraging them along.

After an air raid hits the factory we watch as their friendship blossoms even further and their hopes and fears unravel. We laughed through familiar games of truth or dare, secrets being shared, and were shocked by harsh realities. Although the most hard hitting moments were always cleverly uplifted with comedy, and superbly executed.

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Preparing to leave each other and return to their homes after the war ended. Photo Credit: Chris Bishop

One of the highlights of this performance (pardon the pun) was when the girls ate cordite. This is a dangerous explosive used for ammunition, but also gave the girls a buzz which made them work faster and let off some steam. This sequence of crazy facial expressions and comedy madness allowed for their characteristics to explode (I’ll stop with the puns) and was extremely well received by the audience. It also lead us through an emotional discovery of how the women perceived themselves within society and hierarchy during the early 1900’s.

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After taking Cordite… Photo Credit: Chris Bishop

Canary is a strong piece of physical theatre addressing and remembering these female heroes of Britain (and rightly so). You will not be able to take your eyes off these three talented performers, and you will certainly leave with your eyes open to a wonderful snippet of history and your cheeks aching from all the laughter. It would be utterly mad not to grab a ticket to this show!

Follow the link for more info: http://www.funintheoventheatre.com/

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REVIEW! A Dog’s Heart, Xameleon Theatre @ Theatre 21

Based on the novel by Mikhail Bulgakov
Director: Konstantin Kamensky
Producer: Vlada Lemeshevska
Cast: Oleg Sidorchik, Sergey Kotukh, Alexey Averkin, Eimas Minkelis, Vlada Lemeshevska
22 – 24 November 2018

Bulgakov’s satirical novel was, like much of his work, banned in Soviet Russia for over sixty years. The plot, somewhere between Frankenstein and Animal Farm, centers around a successful surgeon experimenting with eugenics by transplanting animal organs into humans, to create a peak human at peak health.

The opening of the book and the play is a far cry from these lofty ideals: an injured, desperate dog foraging through trash in the middle of winter. The dog is played with exceptional empathy and physicality by Sergey Kotukh. He’s not wearing any particular make up or costume but did make me forget, at times, that he was not a dog. He makes such a good dog, it’s even more painful to watch his slow transition into a terrible man.

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He is adopted, from the street, by the successful Professor Preobrazhensky (a name derived from the Russian word for transformation), who brings him back to his apartment and starts spoiling him. He gets a collar and is named Sharik – the Russian equivalent of Rex or Rover. He’s just becoming comfortable in his role as a gentleman’s dog when he’s sedated and operated on – the new subject of an experiment to see what happens when the pituitary gland and testicles of a man are transplanted into a dog.

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The Professor, Oleg Sidorchik, is as much a parody of the anti-communist bourgeois as the uncouth Sharik is a parody of the proletariat – there are no ethically sound characters or decisions in this show, only an uncomfortable black humour and dissection of class struggle. Is the issue with Sharik, who never asked for this? With the Professor, a stubborn, snobby nepotist who uses his connections to protect himself? With the fact that Sharik’s donor organs came from a criminal (who’s name may or may not have been a punning reference to Stalin)? How can we ask anyone to change their heart?

It’s a small, highly talented cast with excellent timing, performing in Russian. There are English surtitles, as you’ll often find in operas. It can be a little distracting to look back and forth – the action of the play moves faster, with more jokes than an opera. There are also multiple, mobile screens which partition the stage and have videos projected onto them. This worked extremely well in the first act, as a clever combination of live and recorded black and white video helped us understand the perspective of Sharik as he is adopted. These many projections became increasingly difficult to follow and focus on as the play progressed – I got the impression that the show had been designed for a differently shaped theatre entirely.

Despite the overuse of technology, the strength of the play is its cast. It’s a bleak story, distressingly relevant nearly one hundred years after it was written. It’s a funny, moving, thought-provoking play that’s well worth watching.

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Previous Review: How To Catch A Krampus by Sink the Pink @ Pleasance Theatre