EUTCo’s production of ‘After The End’ is showing at 7pm on Wednesday 27th – Thursday 28th November at Cellar Door. Tickets are £5 for EUTCo members and £6 for non-members, including a free drink at Cellar Door. Email the show’s producer Jessica Burrage (jlb230@exeter.ac.uk) to book tickets.
Image Credits: EUTCo
A bomb explodes. You wake up underground, in the dark. You don’t know what to think, what to do, how to react. No, I’m not describing you passing out in Cellar Door as the bass drops, but rather, the premise of Dennis Kelly’s gripping play After The End on in Exeter this week. For two nights only, Cellar Door, the Quay’s go-to venue for drum and bass nights, will be transformed into a nuclear fallout shelter as Exeter University’s Theatre Company (EUTCo) stage their second play of the term there.
Dennis Kelly’s After The End explores how human emotions are pushed to extremity as his two characters – Mark and Louise – are entrapped within a bomb shelter with only each other for company. It is Mark’s shelter: he has rescued Louise and prepared everything he thinks they will need to survive; tinned chilli, Dungeons and Dragons and a knife. They both must wait until it’s safe to go outside. Yet, it soon becomes apparent that the real danger lies inside the shelter. Mark and Louise have survived the bomb, but will they survive each other?
The dark humour and electrifying tension of Kelly’s script is what attracted co-directors Joanna Ward and Matthew Holmquist to the play. In an interview, Matthew and Joanna commented on the challenges it presents to the conventions of love, hate and human relationships. They also highlighted how lucky they feel to have secured Cellar Door as the play’s venue: “Cellar Door is great for the underground environment of this play. We want the audience to feel like they are entering the world of After The End. It’s such an intimate space, we’re trying to create an intense atmosphere that the audience will hopefully thrive off”.
With only a two-person cast, the play certainly demands a lot of its actors. Armonie Melville and Freddie Thorp – playing the parts of Louise and Mark respectively – describe the play’s intensity as “enjoyably challenging”. With many lines and a number of intimate, violent scenes, they both emphasised the essentiality of “trust and a strong on-stage chemistry”: something they hope will come across in their performances.
Sarah Gough
To watch the ‘After The End’ trailer as well as interviews with the actors and directors, visit the Facebook event here. For updates on the show, follow @AfterTheEnd13 on Twitter.
The show contains scenes of a violent and sexual nature.
Herons was on at The Edinburgh Fringe from May 1-31 2013.
OPENING with a single spotlight shining onto a frightened looking youth stood clutching a revolver in shaking hands with tears streaming down an innocent face, EUTCO’s production of Herons by Simon Stephens instantly moves and engages. From the stunning cast through to the understated staging, this excellent production is an emotionally intense and engrossing hour of top quality theatre.
Herons Image credit: EUTco
Dealing with the lives of a broken community a year after the brutal murder of a thirteen year old girl named Rachel, Herons details the journey of fourteen year old Billy and his involvement with the gang responsible for Rachel’s death, an event witnessed by his father Charlie. As the violent and vicious bullying of Billy and his friend Adele intensifies, Billy decides to take action in a naïve and desperate way.
Played with a sense of confused innocence, Jamie Manton’s Billy epitomises the broken youth who desires to escape but is trapped behind a past he doesn’t deserve. A genuinely moving performance from Jamie is a real highlight of the show and is supported by the rest of the play’s exceptional cast. Hannah Lawrence plays Adele, another youth trapped by her background and desperate to find some hope amidst the bleak life she leads whilst George Watkins plays the truly terrifying and malicious bully Scott, followed faithfully by his gang of two Aaron – Henry Fewster – and Darren – Jordan Edgington. Ryan Whittle and Kate Rayner also give great performances as Billy’s supportive father Charlie and alcoholic, abusive mother Michele respectively and overall the cast really bring the play to life.
Image credit: EUTco
With one simple set, consisting solely of a wooden bench in the centre of the small stage, EUTCO’s Herons focuses on the human emotions involved in these violent situations without detracting from the emotive performances and Stephens’ cutting, contemporary script. The graphic displays of desperate violence leave a dull feeling in your stomach as you sit passively in the audience but wonder if you would even attempt to interact were you able, whilst other moments inspire a sense of hope for those who are stuck amongst this mess.
Despite having witnessed a plethora of average theatre and comedy during my month at the Edinburgh Fringe this year, Herons does not rank in this category at all. It is one of the best pieces of theatre I have experienced this year in Edinburgh with an outstanding cast and brilliant script.
Emily Tanner, Deputy Editor
Read Deputy Editor Clara Plackett’s experience of The Fringe as a whole here.
Follow @exeposearts on Twitter and like us on Facebook here.
Want to know what arty activities you can partake in at Exeter University? Read Online Arts Editor Giverny Masso’s alphabetical guide for snapshots of every arts related society – from Exeter University Theatre Company to the Circus Society see what sparks your interest.
Art Society
Art Society’s exhibition in the Phoenix Image credit: Art Society
“Art Society is all about getting creative and is open to everyone, no matter what your artistic ability is. We hold weekly life drawing and print and textiles sessions, as well as having ‘open studio’ sessions where members can come and use the art studio for their own projects and generally get messy without having to worry about not getting your deposit back! For more info click here.”
Playing with fire; the Circus Society Image credit: Circus Society
Breakdancing Society
“The breakdancing society has performed in the RAG Fashion Show, Dancing Devon, Strictly come dancing and the finals of Exeter’s Got Talent. All abilities are welcomed so don’t be shy if you’ve never breakdanced before! Lessons are taught at both a total beginner and an intermediate level in a friendly, relaxed atmosphere. Socials are different from other societies in that you go out and dance – It’s great fun and gives everyone a chance to showcase their skills in a real-life setting!”
Circus Society
“The circus society’s objective is to gather anybody with an interest in the performing arts into a cooperating troupe. Together, we aim to organize shows which will encompass various disciplines, such as juggling, acrobatics, fire-dancing, hula-hopping, martial arts, and others. There is no selectivity to join the circus society: anybody is welcome. Whether you are a perfect beginner or a master acrobat, you will certainly find your place amongst us!”
DanceSport Society
“We are one of the University’s largest societies, we teach classes in all the Ballroom and Latin dances, and hold a weekly salsa social. All are welcome, including complete beginners; you don’t need special shoes, or clothes, and you don’t even need a partner!
With regular classes with a World Champion coach, practice sessions, technique classes, and socials, we are a very active society. Dancing is a great way of making friends, and can improve communication, team participation and even your memory skills (all very handy for any CV!). Check us out on Facebook here.”
Exeter University DanceSport Society Image Credit: DanceSport Society
Drama Society
“The Drama Society is the place to be for not only Exeter Drama students but also any student interested in drama and theatre. Our online magazine, The Green Room, provides you with all the information you could possibly need: upcoming shows in local theatres, auditions and shows from all the theatrical societies at Exeter, and all student auditions and performances. With regular reviews, witty articles and much more, it is all you need to keep up to date with drama at Exeter. And of course, we have regular socials and trips where you will learn how to party like a Drama student!”
EUTco
“EUTCo is Exeter University’s longest running theatre company and is the go-to society for exploring your creative impulses on the stage. As well as offering opportunities that include directing, acting and producing, amongst other things, EUTCo can offer a great University social experience with termly get-togethers and a great sense of community. For more information visit our website here.”
Image credit: Fashion Society
Fashion Society
“Exeter Fashion Society needs YOU! Whether your interest lies in fashion, modelling, photography, journalism/blogging, art, events management or a simple love of clothes, we’d love to have you. If you tick any or all of the boxes, why not check out our Facebook page and our blog.”
Folk Society
“Folk society includes dance, music and singing with a weekly pub session! We host ceilidh dancing workshops and also dance rapper, a traditional North-Eastern display dance with swords. For more information please visit our website here .”
Footlights Society
“Footlights is the University’s biggest musical theatre society that performs show-stopping productions at the Northcott Theatre and in the M+D room. After the Mayor of Exeter claiming that last year’s “Thoroughly Modern Millie” was our best show yet, and a legacy of fantastic productions, Footlights continues to go from strength to strength.”
Gilbert & Sullivan Society
“As Exeter University’s longest running student performing arts society, at 46 years old, we are proud of our reputation for bringing to life the works of Gilbert and Sullivan in our highly rated performances every year.
We are a friendly and inclusive society that gives everyone a chance to perform and enjoy Gilbert and Sullivan operettas in the professional setting of the Northcott Theatre.”
Photo Society
Stunning Devon landscape photography from PhotoSoc member Siddharth Jayaraman, click here to see more of his work. Image credit: Siddharth Jayaraman
“Whether you are a professional photographer or just planning to start taking your first photos, Photo Society is the place for you!
Members have full access to the darkroom, A3 colour printer and various photography equipment. We organise trips, socials, workshops, exhibits and competitions. To see a full list of benefits of joining PhotoSoc, click here.”
Pole Dancing Society
“Pole dancing is great fun and incredibly rewarding! You be taught spins and moves that will improve your strength, fitness and coordination in such a way that you will be able to choreograph your own routines.
The Society encourages members to participate as much as possible, so there will be many performances and competitions available throughout the year for anyone to partake in, at any ability.”
Poster for Shotgun Theatre’s last show ‘1000 Suns’ – a post apocalyptic folk rock musical Image credit: Shotgun Theatre
Shotgun Theatre
“Shotgun is the newest addition to Exeter’s growing host of theatre societies. We are proud to offer our members enjoyable, quirky performance opportunities; be that in one of our two annual musicals, termly cabarets, workshops and socials. Whilst we work hard to achieve fantastic results, the most important thing to us is to have a good time! Find us on Facebook here.”
Tadpole Theatre
“Hello! We’re Tadpole Theatre. We’re an emerging Exeter-based theatre company and would love to get you involved in one of our shows! Our mission is to compliment theatre with other art forms in order to create highly physical, story-telling pieces. Want to find out more? We aren’t a Guild Society, but we are a student run theatre group so to find us like us on Facebook, follow us @TadpoleTheatre, or read our blog.
Theater Goers Society
“Theatre Goers Society provides fantastic opportunities to get together and see some truly amazing shows at discount prices. We’re very excited about our upcoming trips to see the Reduced Shakespeare Company in Plymouth, and Curious Incident in London. It’s going to be a great year for theatre- don’t miss out! Visit our Facebook page here.”
Theatre with Teeth
“Theatre With Teeth is Exeter’s foremost producer of new writing, adaptations, devised work and physical theatre. We create bold, new and relevant theatre, with our work performed across Exeter and beyond. Our productions receive tailor-made support, and foster developing talent through a broad range of workshops and events. Visit our website here or follow us on twitter @TWTExeter.”
Tadpole Theatre’s latest production ‘Small People’ Image credit: Tadpole Theatre
University Dance
“We run weekly classes in ballet, tap, jazz, contemporary, street, hip-hop, limbering and Irish. Being a DanceSOC member will give you the chance to audition for University events, our inter-university Competition squad and for performances in Exeter’s best nightclubs. DanceSOC socials are great fun and have included masquerade balls, pub quizzes and nights out! Feel free to get in touch with any questions to eet202@exeter.ac.uk.”
Click here for the listing of all these societies on the Students’ Guild website where you can join up or find out more information.
Each week we will be showcasing the work of a student artist. If you would like your work to feature then please email arts@exepose.com.
This week we are showing Yuan Hu’s trailer for EUTCo’s A Clockwork Orange, which was performed last year and directed by Harry Kingscott and Dan McNeill. We absolutely love the trailer, it is so powerful and seamlessly edited.
To learn more about EUTCo and to get involved visit their website here. To see more of Yuan Hu’s work, check out his Youtube channel here.
Video Credits: Yuan Hu
Follow @exeposearts on Twitter and like us on Facebook here.
The new EUTCO play, Written and directed by Henry Fewster, Co directed by Ben Seward and produced by Amelia Hanbury.
“Four young women with big dreams find themselves forced to work for a small catering firm, waiting on the rich and famous hand and foot, just to pay the bills. Their boss doesn’t make the first step towards compromising with their dreams any easier, taking out her own misery and frustrations on them. Will any of them ever acheive their goals? Will this even give them what they are looking for? Or maybe this is just it until they die…”
7th June, 7:30 pm: M&D room, Devonshire House
9th June: Poltimore House, Arts on the Move Festival
“Is a man who chooses the bad perhaps in some ways better than a man who has the good imposed upon him? Deep and hard questions…”
A Clockwork Orange, directed by Harry Kingscott and Dan McNeill, was a performance that brought to light many sinister questions about the nature of violence, good and evil, choice and humanity itself.
Photo by designwallah on flickr
This gripping production was a darkly ironic, near-future satire, adapted from Anthony Burgess’s novel, which lingered in my mind well after the show had finished. The walk home in the dark certainly kept me on my toes a little more than usual.
This production is definitely not for the faint hearted, with murder and rape depicted. The play follows Alex, a teenage criminal who seems to thrive off of violence. When he is caught and incarcerated he agrees to undergo a new experiment that makes the subjects ill at the thought of violence. Even when ‘cured’ there is still an element of unease watching Ieaun Coomb’s performance.
This performance lost some of its intensity however in its staging. For me the M and D rooms seemed to be a hindrance instead of adding to the production. The narrow performance space and with the stage taken out, the actors were at an immediate disadvantage being several feet lower.
I can see what Kingscott and McNeill were trying to do and it did give the space a different feel, but a lot of audience members I spoke to after the show agreed that much of the fighting and action was lost due to sight-lines and this was a real shame. (And I thought I had a good seat, central in the fourth row!)
Coomb’s electric and powerful performance as Alex carried the show from his first line to his closing monologue. It was refreshing to see most of the cast playing their own ages, which is somewhat uncommon with student productions. This made their performances believable and more importantly relatable to us, as a student audience.
Its contemporary relevance was very clear to see, with reference to riots in London and the youth’s unease at its government. It was somewhat difficult to watch because although set in the future, it seemed that it could be depicting somewhere unsettlingly close to nowadays.
This new future was excellently crafted out of classical music by Beethoven, and the modern looking gadgets and experiments. The clash of new and current excellently formed a future.
One of the strongest elements to the production was the costume, it wasn’t too farfetched but designer Jenny Hall brilliantly captured the directors’ futuristic vision, the hard lines and bold colours really adding to the characters personas and the world they were in.
With such an iconic novel it is important to get away from the ‘expected’ and the obvious; Kingscott and McNeill could have easily re-staged the Stanley Kubrick film. However, it was refreshing to see two directors put their own stamp on such a well-known text: they made it relevant to us as an audience and provoked interesting questions.
Harry and Dan can be very proud of themselves, their strong ensemble cast and production team who have together made their vision a reality and a success.
Theatre reviewer Alexander Palmer discusses EUTCo’s latest offering and the challenges of restaging period pieces.
John Osborne’s Look Back in Anger presents a post-war youth as it really was. The play is a reflection of its time and I found it hard to comprehend why EUTCo have commissioned a kitchen sink play that, on its own, does not speak to a contemporary audience. I entered Harry’s hoping that directors Alice Windeler and Cecily Colahan would put this worry to rest.
It takes nerve to create a piece of theatre in a non-theatre space. But Windeler and Colahan need not worry about this. Set excellently within The Harry Hem Centre, the production forces audience members to walk through the flat of Jimmy and Alison Porter to get to their seats. Sitting through what was quite a stale and slow paced first half I started to feel trapped within the space. However, this was not necessarily a downfall as I started to get a sense of what the characters were feeling, confined within a tense atmosphere.
Photos by University of Minnesota Theatre Arts & Dance. Not representative of EUTCo’s performance.
Dan Hartley’s gritty performance as Jimmy created this tense environment. His cool relaxation was underlined constantly with a bitter, manipulative and cynical tone. I would argue that this edge lost a little of its gusto due to his RP accent, especially considering that Jimmy is of working class background, as stated in the program. Yet, at times he sounded higher in social status than Alison’s father (Tom Milton) whom Jimmy hates so much because of his class. This along with other aspects of the production didn’t quite hit the mark for me.
Emily Hibbert’s powerful and moving portrayal of a broken Alison was at times heart-wrenching to see. Her internal struggle was evident throughout and therefore Hibbert for me carried the show and stood out a mile.
Photos by University of Minnesota Theatre Arts & Dance. Not representative of EUTCo’s performance.
To top off an excellent three-hander, Gruffydd Evans provided comic relief as Cliff. His quirky and sincere comments acted as much needed light relief in such a dark play.
Despite the strong cast, I felt that I had invested a lot of time in the opening act and not got much back as a reward. There was something about the play that didn’t quite hit the mark, whether that be lines lost, malfunctioning sound or no connection between the play’s time period and our present day.
For me, the play provoked these questions: why is a play about post-war depression being produced in 2013 Exeter, does Osborne’s text speak to us as an audience? If not, why then was the play not adapted to speak to a contemporary audience? A lot of what of the play refers to is out of our field of reference and is irrelevant to us. Was this little more than a play showing the relationships between a man and a woman? This no doubt provided us with drama and suspense but did it provide anything more than entertainment?
The problem with re-vitalising a text for theatre be it Shakespeare, Pinter or in this case Osborne, is that it has to speak to a modern day audience. We have to gain something new from the text, and see it in a new light. This is for me what this production was lacking in, I find it hard to see the reason why this play was chosen by EUTCo, other than to see a good text put on it’s feet.
Rating: 3/5
by Alex Palmer
Featured photo by University of Minnesota Theatre Arts & Dance.
Lifestyle Editor Kitty Howie talks us through the highs and lows of EUTCo’s big production, ultimately a triumph.
The University’s presence has really been felt within the Northcott this term. After the success of Copacabana, it was soon time for EUTCo to follow suit and prove their prowess.
You can’t knock Director Josh Lucas for his ambition and confidence. Choosing to direct Amadeus, where there’s as much emphasis on the music of the characters as there is on their acting, definitely required balls. Throw into the mix the fact you have to work to a budget, present the show for four consecutive nights to a highly expectant audience and maintain the prestige that EUTCo and the Northcott carry, and you’ve certainly not got an easy walk in the park!
Told from the view point of an ageing Salieri, renowned composer and (hugely jealous) competitor of Mozart, the play charts how the perception and conception of Mozart and his music was subject to Salieri’s dominant influence. With his integrity and popularity put in danger as a result of Mozart’s brilliance, it doesn’t take a genius to work out that over the course of the production, Salieri inevitably seeks to bring down Mozart and alleviate the threat he represents.
Photo by Joshua Irwandi
The visual exclusion of Mozart on the stage from other characters, especially when combined with audible blasts of his most famous pieces, succinctly conveyed the plot’s complex motive of expressing that Mozart hasn’t always been considered the genius that he is today.
However, disappointingly, I feel this potent combination had more potential and could have been better. Perhaps it was second night blues and bloopers, but sometimes it was a challenge to hear the actors above the accompanying music. Thankfully these tech hiccups were mostly sorted by the second half.
Photo by Joshua Irwandi
The inclusion of a live orchestra and a choir should be applauded, but I couldn’t help but feel they needed more rehearsal time – particularly frustrating if you can’t hear the action on stage too.
The orchestra didn’t play the whole time, in fact for the most part the tech crew piped in a pre-recording. Not only was this a weird mix, but playing a professional recording alongside the orchestra’s efforts only seemed to make their timing issues more obvious. I feel the production would have been better if a more rigid decision had been made – either the band or the CD, but not both.
Nevertheless, in spite of these technical hiccups, the strength of the principal actors proudly carried the production and held it high.
Photo by Joshua Irwandi
George Watkins brilliantly metamorphosed between aged, wheelchair-restricted Salieri and the youthful Salieri determined to ruin Mozart. He mastered his longer speeches. I haven’t seen a production of Amadeus before, but I found that Watkins’s treatment of the psychological implications of his actions was particularly resonant, reminding me of Burton’s portrayal of Dysart, another principal Shaffer character from Equus.
As the main man Mozart himself, Ryan Whittle was instantly likeable. His endearing laugh was a joy that let us enjoy his character as much as he did.
The depth of Felicity Gardener Cant’s Constanze was of a high standard and equally effective throughout the production.
Photo by Joshua Irwandi
Stage management and props were another triumph, both used cleverly and effectively to maximise the dramatic space. In particular, the wheelchair and simple blanket used to signal the aged Salieri carried emotional depth.The system of waiters / servants who carried however many chairs (from the well loved Bowling Green – did you recognise them?) on and off the stage however many times was slick and professional.
Without scenery, flashes and darts of colour came from the costuming, which was also to a high standard.
Photo by Joshua Irwandi
Speaking exclusively to Exeposé, assistant producer Timothy Bradbeer said of the experience, “It was a bumpy ride trying to costume everyone – keeping to the budget was a real challenge at times!”
However, when asked whether the stress was all worth it and if he was proud of the show, he beamed and said, “Of course! As soon as the audience hear the first two chords blast out at the beginning of the show where the cast waltz on, it’s all worth it.”
I certainly agree. Staging Amadeus was always going to be challenging, but EUTCo can be assured that their big production was a success.
Exeter University Theatre Company will transform the Northcott theatre into 18th Century Vienna this week as they recount the story of a genius: Wolfgang Amadeus Mozart.
Peter Shaffer’s Amadeus theatrically explores Mozart’s life story and his relationship with Sallieri, a court composer and the only man in Vienna who appreciates Mozart as a musical genius.
Sallieri battles with the realisation that some are born with extraordinary gifts, while others are resigned to mediocrity.
The cast of 24 will present the intrigue of the Imperial Court, all the splendour and squalor of 18th Century Vienna, and the captivating simplicity of beautiful music.
EUTCo, together with Choral Soc, promises to bring Mozart’s music to life with spectacular renditions of his greatest compositions.
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