Footlights’ column gives us a snapshot into what is happening in the run up to ‘West Side Story’, their Northcott show, first show this Wednesday the 29th.
This week’s Footlights’ blog introduces The American Jet Boys! The boys are very quick-tempered and determined to take control of the streets of New York. Watch the clip to see what they have been doing in ‘rehearsals’.
“Oh dear God,” said George Lazenby, “I don’t think I can take another revelation!”
Neither can we!
So much has happened since Union Road began way back in November – if you missed any of the drama then Vanessa Tracey is here to remind you what has happened up until last week’s episode. Then you can catch up on last week’s above!
This year has already been a tough one for Union Road. The street was preparing itself for Mr Lazenby’s memorial service. Yes the Lazenbys bickered, and yes Linda unsuccessfully tried to keep her mouth shut, but what we didn’t expect is that shop owner Katya would commit suicide and join her dead lover!
Did anyone see that one coming? How much money in the bag did she leave for Samuel? How will Linda and Jenny cope with the guilt?
Meanwhile, the Lazenbys were seen reeling after Samuel’s decision to finally come out to his family. With the Lazenbys there was always going to be a bad reaction, but how difficult will things be for Samuel? Are he and Jake even properly together? When will their housemate Lola find out?
Elsewhere on the street, Mary was still struggling to leave Billy on his own for more than two seconds but the news of suicide could spur Thomas into action. Will he finally seize the day and go on a date with Mary? Will something else get in their way this time?
Don’t forget to tune into Xpression FM this coming Wednesday at 5.45pm for another slice of unmissable drama. And if you do miss it, I’ll be back next week to keep you up to speed!
Chet Baker, Love, directed by Joshua Lucas, was performed on Wednesday January 22 as part of the From Devon With Love Festival.
Image credit: Kolbrun Sigfusdottir
Currently playing at the Bike Shed Theatre in Exeter, Chet Baker, Love is possibly one of the most unorthodox and intriguing plays I have ever seen. Bringing a whole new level to the term ‘play’, it follows the journey of the female protagonist’s unique and, for lack of a better work, mental love affair with ‘the one that got away’.
Sitting in a small room, feeling unnervingly intimate with the main (and only) performer, we gained an access in to her life and her most personal thoughts and feelings as if we were friends rather than paying customers. Though intense, it was incredibly interesting to watch someone pour their heart out in front of a group of slightly bemused strangers.
The performer and writer, Kolbrun Sigfusdottir (or Kol, to make things easier) was excellent on stage and managed to retain my interest, even if most of the time it was because of the fact that she swore like a trooper throughout. I have to commend her for her bravery: most people wouldn’t feel comfortable admitting to the time that they woke up hungover without pants on, or when they got ridiculously stoned at sixteen.
Despite baring all, Kol gained the upper hand at the end of the play when she brutally inceptioned us all by questioning whether any of it was actually real. Certainly, Kol’s tale seemed far-fetched and unbelievable at times, but there was also something incredibly real about her story and performance.
Far from a theatrical masterpiece, Kol herself admitted that she was aware that she was really just rambling about her love life to us, ‘Chet Baker, Love’ is nevertheless a sweet, emotional and surprisingly funny play. While definitely not to everyone’s taste (my emotionally dense housemate was trying not to crack up at the end) I would personally recommend this as a very heartfelt and thoughtful play.
Kolbrun Sigfusdottir is the artistic director at Brite Theatre, visit her websitehere.
Sabrina Aziz
Follow @exeposearts on Twitter and like us on Facebook here.
Footlights’ column gives us a snapshot into what is happening in the run up to ‘West Side Story’, their Northcott show, first show this Wednesday the 29th.
This week’s Footlights’ blog introduces 3rd year Drama student Jess Reed who plays wannabe Jet, Anybody’s.
Hi, I am Joanna Tew one of the producers for West Side Story. I was terrified at the start of this process, facing the challenge of being a student producer, but with such a terrific team it’s been incredible. West Side Story is a challenging show requiring its actors to sing, dance and act (the true triple threat). The cast are pushing themselves to the max at the moment, perfecting every single spin, punch and high note in the show. Luckily no one has broken a leg or lost their voice. (yet). It’s really hard to believe that after nearly nine months of preparation next week is show week! On Monday the entire production team will be moving into the theatre to get through the heavy hours of technical set up that will prepare us for opening night. We have a very big company 31 actors, 30 musicians and a production crew of around 40 people and keeping track of them all is very daunting but we are all so excited for opening night. Thank you for following this weeks Footlights blog and we all hope to see you at West Side Story.
Curtain Down is a one-act play, written and directed by local playwright Rachel Feeny-Williams, which spotlights the bittersweet realities of a career in the arts, focusing on what happens when a star’s light unceremoniously goes out and the unlikelihood of it lighting in the first place. The audience meets a struggling drama graduate, Natalie, after her flight from the stages of Butlin’s Christmas performance, and tracks her interaction with the other characters in the Curtain Down pub – something of a theatrical graveyard.
Image credit: The Bike Shed
Cecile Charles – or “Si Si” – a washed up leading lady turned land lady opens the play with a scene reminiscing about her former glory against the very fitting backdrop of the low-lit and well-worn Bike Shed Theatre, giving the scene an appropriate intimacy as we delve into the character’s past. Feeny-Williams creates some genuinely interesting characters to depict the differing struggles of a life in the performing arts; Ashleigh is the sharp-tongued exotic dancer whose failures catalyse an aggressively defensive streak which comes to the fore several times throughout the play; Maxwell Kensington is the quintessentially bearded Shakespearean actor with a complex about performing anything less than the work of the Bard, and then there’s Bill who simply responds “I’m a tree” – suffering the inevitable psychological effects of long term exposure to physical theatre.
There is much in the play’s fabric then that has the potential for a captivating and melancholy exploration of what happens off-stage when the audience have gone and the lights are out. However, there was something ever so slightly stilted and uncomfortable in the characters’ interaction on stage for me that hindered the play’s true capturing of the downheartedly ironic tone that would have made it a more striking piece and which I think was endeavouring to come out of the script. The dialogue was well-written and witty, creating a positive response from the audience, particularly when delivered with the cutting edge of the actress who played Ashleigh, but again in places took away from the necessary tension.
A one act play has its inevitable challenges, needing to engage with its audience from the outset, fill every scene with something meaningful and take us on a journey in a very short space of time. Whilst I applaud Feeny-Williams for creating all the potential for this to be a success, I was left somewhat underwhelmed by its execution.
Bethany Stuart
Follow @exeposearts on Twitter and like us on Facebook here.
Duplicty, directed by Rose Mullin and Mike Gilpin, was performed on Friday January 17 as part of the From Devon With Love Festival.
Entering The Bike Shed theatre, the audience are heaving with anticipation for the sold out play. Having reviewed Substance and Shadow Theatre’s Skin Deep in June, I have high expectations, knowing what the company are capable of.
Duplicity opens with a poetic monologue from Fabie, played by Joana Crisostomo. Following this, Midge Mullin takes the stage, playing the roles of identical twin brothers, Tommy and Finn, who grew up working in the circus. Tommy then leaves to realise his dream of joining a punk rock band, whilst Finn remains at the circus, crippled by the illness of polio.
Image credit: Matt Austin
Oscillating between these two roles, Midge faces a difficult acting challenge. I initially have my doubts about whether or not he can pull this off, but these uncertainties are obliterated after the first switch-over. Throughout the play Midge’s acting is of an exceptional quality. His characterisation of each brother is brilliant, with control maintained over every detail of his facial expression, posture, gait, and tone of voice.
Apart from a couple of hesitations on lines, the rest of the acting is also highly commendable, with impeccable accents maintained throughout. Rachel Milne portrays Tommy’s girlfriend, Ultra Violet, oozing a ‘punk rock’ attitude with her sultry scowl and slouched posture.
I particularly enjoy Nathan Simpson’s depiction of the comical band manager, Leonard Silver. Nathan’s dancing is hilarious, and has the whole audience in fits of laughter. Nathan fluently transitions from initially providing comic relief, to developing his character’s much darker side which later has serious implications for the others.
Whilst Midge, Nathan and Rachel have equally developed and prominent roles, Joana Crisostomo has comparatively much less time of stage which seems a little asymmetric. All four of the actors, however, do not falter for a split second with their energy. This energy gives the play its kick, and entirely illuminates the sparse Bike Shed stage.
Multimedia has been used cleverly. A projector screen on the back wall, sound effects and music help set the scenes, and add emphasis to the action. I particularly enjoy the use of punk rock to link scenes, which adds a sense of urgency and excitement I imagine to be reminiscent of the era.
Once again, Substance and Shadow live up to their name, delivering theatre which flickers between moments of light and dark, love and hate, connection and isolation. Rose and Midge Mullin have successfully written a play which simultaneously entertains us, taking us back in time to the punk rock era, and urges us to reflect by exploring our notions of identity, family and love.
I eagerly await Substance and Shadow Theatre’s next endeavour, having immensely enjoyed all I have seen so far. The Exeter audience absolutely love the play, and I believe that Substance and Shadow Theatre make a valuable contribution to the arts scene in the city.
Ricky Freelove reviews Shotgun Theatre’s adaptation of Spring Awakening at the Phoenix on the 21st Jan.
Image Credits: Shotgun Theatre
‘Spring Awakening’ is a tragicomedy rock musical and covers a wide variety of social taboos including scenes of masturbation, flagellation and a backstreet abortion. The show presents the struggles of adolescence and coming of age; it is ribald, provocative and at times exceptionally uncomfortable to watch. Shotgun Theatre’s adaptation of Wedekind’s 1891 play was staged emotively and passionately, leaving the audience exhausted by the end, and in awe of the company’s raw talent.
Genevieve Skehan, the director of the show, made great use of the intimate space available at the Exeter Phoenix, especially with the live band occupying the majority of the stage. The modest set added to the intimacy of the show as full attention was paid directly towards the performers throughout.
The cast was exceptionally tight and unified throughout the show, especially when performing the song ‘I Believe’, where four-part harmonies reverberated and resonated around the space, completely dominating the room and engulfing the audience.
There were a couple of technical hitches with microphones and amplifier feedback, but apart from this, the majority of the show was first-class.
As to be expected, it was the leads Hannah Bloom and Jonathan Leigh who stole the show. Bloom played the young, naïve and innocent Wendla, who embarks on a disastrous relationship with Melchior. Melchior, a young intellectual and wayward hunk was portrayed excellently by Jonathan Leigh.
The chemistry on stage between the two was superb and both were comfortable with some compromising scenes. Leigh’s voice was exceptional throughout; it was warm, crisp and genuinely lovely to listen to. Likewise, Bloom put on a stellar performance, which would not be amiss in the West End. There were also some individuals from the cast who particularly stood out in the show too, including Matt Holmquist (Georg), whose deep and controlled voice offered some wonderful harmonies. Similarly, Devon Amber (Ilse) demonstrated a powerful diva-like voice whose solos were received well by the audience.
However, the most beautiful scene of Shotgun’s interpretation of ‘Spring Awakening’ came from Will Rushworth (Hanschen) and Adam Dolan (Earnst) whose characters opened up about their homosexual feelings towards one another whilst performing the duet ‘The Word Of Your Body (Reprise)’. It was tenderly and elegantly staged and was a lovely uplifting moment which was captured magnificently by the pair.
Shotgun Theatre’s adaption of Wedekind’s ‘Spring Awakening’ was overwhelming, exhilarating and absolutely fantastic. The phrase ‘emotional journey’ has never been more appropriate as I left the theatre dumbfounded and in need of a calming sit down.
Eleanor Marshprovides a fresher’s insight into studying a Liberal Arts degree at Exeter
LIBERAL ARTS. I’m sure the name has already evoked many eyebrow-raising images: lots of hippies sitting in a field discussing art, to eventually achieve some sort of official qualification, something like that. But actually, it’s rather different. For anyone who is familiar with the American education system, this degree will ring a few bells. Across the pond, Liberal Arts has been an established form of teaching for a few hundred years and is still hugely popular. It is such an integral part of American culture that there is even a film called Liberal Arts, starring the ever-charming Josh Radnor (or Ted from How I Met Your Mother). I’d recommend it.
Traditionally, Liberal Arts courses generally involve a range of modules from areas across the university, and here in Exeter this is no different. As it is the first year of Liberal Arts at the University, things are still a little ‘loose’, but we are currently taking modules spanning from areas such as Archeology and Theology, to English and Film, to Languages and Statistics.
Following the American system, the degree also offers us the chance to choose a major from any subject that the University has to offer. This is really exciting for all of us: not only to secure a wide foundation of knowledge for ourselves in this first year, but later we are able to specialize in a subject that really grabs our interest. Personally, I am leaning towards English, but the majors vary from person to person.. This term will be spent taking classes for our major and experiencing all the different aspects of other subjects. The variety keeps us on our toes, meaning there is rarely a dull moment.
Truth be told there have been a few kinks in the course. However, most of these were quickly smoothed out at the beginning of term, ready for us eager first-year students to get started. It can be frustrating constantly explaining what Liberal Arts actually is – I can’t count the number of times I’ve had to recount ‘it’s a mix of humanities and social sciences’, aware that I don’t have enough energy for another explanation. Although, it is actually more than just that. We are given so many opportunities with this course, both academic and personal. Not only do we get to study a wide range of subjects, but next year we will undertake a challenging work experience program. We will also have the choice to spend a year abroad in our third year and as our course spans across the University, our choice of destinations is pretty much unlimited.
I’ve really enjoyed it, so far. Being a naturally interdisciplinary person, the range of subject areas is wonderful. Plus, I’ve had lectures from experts all over the university, each one passionate about their different subjects.
It really is an engaging and exciting course, encompassing lots of different subject areas, and it’s got a lot of things planned for the future. With universities across the country developing Liberal Arts programs, it is only a matter of time before the looks of confusion regarding the degree disappear – hallelujah! I’ve made some great friends, learnt a lot, and have got a lot of opportunities coming my way – what else could I need?
Emily Tanner, Deputy Editor, discusses fine dining as an art form you won’t see in galleries
A Masterchef dish Image Credits: BBC
That burger you ate for lunch today was probably not the sort of thing you would expect to see in the Tate any time soon. Quite a fair assessment? I’m sure if a modern day Andy Warhol placed a decaying McDonalds Happy Meal on a white plinth in one of the country’s finest modern art establishments, visitors – however open-minded and experimental – may be more than a little bit confused. Yet in many respects the merger of food and art is one that shouldn’t startle too much, especially when it’s the food on your plate that has its artistic potential and not the other way around.
As a massive fan of food based reality television shows – who doesn’t love a little bit of Masterchef or Bake Off on occasion – the focus on the artistic quality and presentation of the food on the plate is something that has always caught my attention. At a restaurant, even if the portions are tiny, we are often impressed by the way in which it has been presented. In fact, nowadays, if you’re going to pay more than £40 for a three-course meal, you’d like to see something a little bit special.
Eating, especially eating out, is all about the experience; the artistic potential of the food on our plates is all a vital part of the ambiance created. In seeing that a chef has carefully crafted a sugar spiral over our dessert we know that care has been taken in the creation of this food. Not only this, but we surely appreciate the skill of the chef as more than merely a great creator of taste. A great chef is no longer someone who can combine great flavour; he is one who has an eye for colour just as a painter would, or knows which textures will look most appealing on their canvas of crockery.
Whilst I can’t image I’d decline too much food purely because it hadn’t been presented quite as well as a Picasso, the sensory experience of eating is always enhanced by appealing aesthetics. Looking at delicious images of food on a website or menu is not too far from looking at beautiful works of art in a gallery, and engaging with artistic qualities makes food more worth the while, especially at a pricey restaurant.
Almost anyone can knock up a decent pasta bake, stick a fillet of fish in the oven, or some potatoes in a pan, but not everyone has the eye of a true culinary master. Food and art combine regularly to create appealing dishes that tickle the taste buds and interest the eye.
Emily Tanner, Deputy Editor
Follow @exeposearts on Twitter and like us on Facebook here.
Are you a fan of comedy? If so then find out what the 2014 Laugh Out Loud festival, coming to Exeter late January, has to offer.
Laugh Out Loud, Exeter’s annual comedy festival, returns with another incredible lineup. A host of big name and well-known comedians will be flocking to Exeter at the end of January/start of February for the simple purpose of making everyone Laugh Out Loud.
High profile names performing at Exeter Phoenix include standups Miles Jupp, Sean Hughes and Alex Horne. They will be joined by Rob Newman, Festival of the Spoken Nerd, Paul Sinha and Mitch Benn, completing Exeter Phoenix’s line-up for this year’s festival.
Festival of the Spoken Nerd Image credit: Exeter Phoenix
A number of other comedians will perform at a variety of venues across Exeter during the two-week extravaganza of comedy. Other venues include The Bike Shed, Exeter Northcott Theatre, Exeter Corn Exchange, Thirst and the City Gate Hotel.
Image credit: Exeter Phoenix
Exeter Phoenix’s lineup is particularly exciting this year as it includes Perrier Award winner Sean Hughes’ new show Penguins that received critical acclaim and hosted packed out audiences when at last year’s Edinburgh Fringe.
The comedy phenomenon Festival of the Spoken Nerd will bring together experiments, songs and stand-up to create a night of comedy and curiosity. The Guardian: “Charm and perky curiosity is in its DNA.”
Paul Sinha, best known as ‘The Sinnerman’ from ITV’s The Chase, will perform the kind of show that only a qualified GP and proud quiz geek can.
Beatles fans will undoubtedly enjoy Mitch Benn whose stand-up show combines his Scouse upbringing with his love of music and lifelong obsession with Liverpool’s most famous sons. “Anyone who likes music, hates Simon Cowell and likes learning new things will love it” CHORTLE ****
Rob Newman is making a hotly anticipated return to comedy with his first complete show in 7 years. New Theory of Evolution describes the 150 year controversy in evolutionary theory and explores how the latest science demonstrates that DNA is not destiny. With jokes.
Alex Horne performs new show Lies which he says will include, ‘a panda, some jokes and some lies. Although one of those may also be a lie.’
Miles Jupp, famous for Rev and The Thick Of It, performs his first live show since 2012 and tickets have already sold out.
More information about this year’s Laugh Out Loud can be found at the festival website http://www.lolexeter.com or from the Exeter Phoenix website http://www.exeterphoenix.org.uk or by contacting the box office on 01392 667080.
Andy Pulleyn
Follow @exeposearts on Twitter and like us on Facebook here.
exeposedev 