New play satirises the university experience

SELLOUT
Image credit: The Northcott

A new play critiquing the university experience is set to run at the Northcott theatre on Friday 24 January.

Sellout, written by David Lane, examines “universities mutating in a capitalist world” with 48 year-old disillusioned lecturer Frank at its centre.

The play traces Frank’s earnest endeavours to “push” students to achieve their best against the heads of department who “time [their] student allocations against the minute”.

In an interview with Exeposé Arts, Lane, a teacher of eight years, described “Sellout” as “all the things you wanted to know about your lecturer’s workplace and its critical impact on you – and some that you probably didn’t.”

Inspired by his own student’s feelings about their course, and his colleagues’ experience of “a managerial culture choking their ability to engage fully with scholarly endeavours”, Lane decided to structure his research-based piece for the Hall for Cornwall theatre around these themes. The resulting piece was branded by Times Higher Education as “an amusingly bleak view of university life”.

Though the play only amalgamates “about 10% of [his] own experience and 90% everybody else’s”, as a 2001 Exeter graduate himself, some of the more autobiographical elements will no doubt ring true for Exeter students and lecturers alike, as Lane himself graduated from the university’s Drama Department in 2001.

Pertinently for Lane, the play will be performed at the Northcott Theatre, which he describes as “really exciting”.

He also feels the setting to be relevant owing to Andrew Sparkes’ recent paper which “kicked off a series of accusations of a pressure-cooker working culture at Exeter University”.

This Friday’s performance will take the form of a one-off reading in order that “Sellout” can prove its potential to become a fully-fledged production.

Tickets can be purchased here on the Exeter Northcott Theatre website.

View the full interview with Sellout’s playwright, David Lane, here.

Fiona Potigny, News Team 

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Arts Recommend : highlights of 2013, National Geographic Photography Contest and more…

Every week we bring you our special selection of all things arty. From interesting websites to highly anticipated performances for your diary, there is something to spark all kinds of creative interest.

1. The Independent’s arts highlights of the year

Click here to see The Independent’s arts highlights of the year, including the opening of The Shed, the National Theatre’s temporary performance space on London’s South Bank.

2. National Geographic Photography Contest

“A polar bear peers up from beneath the melting sea ice on Hudson Bay as the setting midnight sun glows red from the smoke of distant fires during a record-breaking spell of hot weather. The Manitoba population of polar bears, the southernmost in the world, is particularly threatened by a warming climate and reduced sea ice.” Photo and caption by Paul Souders

The winners of the annual National Geographic Photo Contest were announced last week, and the photographs are breathtaking. Over 7000 people entered from over 150 countries, submitting work in three categories: nature, people and place. There is also a ‘Grand-Prize Winner’ which is  the best photograph out of all three, shown above. Click here to see all of the winners.

3. Colossal’s top 15 posts of 2013

From sandwich bag illustrations to flexible paper sculptures, the art and visual ingenuity blog Colossal has shared some incredible things in the past year. Check out their top posts of 2013 here.

4. SELLOUT @ The Northcott

SELLOUT is new political play about the higher education system which tells the story of the “ever-distorting relationship between students’ discovery of new knowledge and institutions’ attainment of league-table profiles”. Written by a graduate and ex-visiting tutor of the Drama department, this play explores relevant and interesting issues for those in university. There is a script-in-hand reading at the Northcott Theatre on 24th January, and tickets can be purchased here.

5. If Only For a Second

This video ‘If Only For a Second’ speaks for itself, watch it below.

 

Giverny Masso and Bryony James

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Visit the University of Exeter Arts and Culture website here.

West Side Story: The Shark Girls

Footlights’ weekly column gives us a snapshot into what is happening in the run up to ‘West Side Story’, their Northcott show.

This week’s Footlights’ blog introduces The Shark Girls, an ensemble of five. Watch the video to hear the girls talk about the rehearsal process so far and their experiences of singing in Princesshay this term.

Tickets for West Side Story are now on sale at www.exeternorthcott.co.uk or on 01392 493 493!

The Shark Girls singing ‘America’ in Guildhall shopping centre
Image credit:Joanna Tew

 

Helen Cheesman singing in Princesshay
Image credit: Footlights

West Side Story is coming to Exeter Northcott Theatre in Janaury 2014, for more updates and show news like us on Facebook here and follow us on Twitter @FootlightsUoE.

Next time: Meet THE SHARK BOYS!

Katie Turner

Click here for all Footlights column posts.

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Twelfth Night @ the Northcott

Image Credits: exeternorthcott.co.uk

I recently went to see a production of William Shakespeare’s Twelfth Night at the Northcott Theatre on the 6th November. This production, created by the Filter Theatre Company and directed by Sean Holmes, has been widely praised as being one of the freshest Shakespeare productions of the last few years. These expectations were not unfulfilled, although I may not have seen enough recent productions of Shakespeare to make an informed judgement. I can, however, say with confidence that this production was successful in extracting a fair few laughs from the audience. Every element of the performance, from the music to the presentation of the characters, was flippantly entertaining.

Shakespeare’s Twelfth Night is a story about the madness of love and Filter have captured this very well in how they approach the play. Costumes and props were not the only tools used to emphasise this play’s comedic tone; the actors and actresses put in vast amounts of energy and spontaneity to deliver what was an extremely animated performance.

This was perhaps the main reason why I enjoyed watching it. The audience were kept on their toes, as the cast interacted with them from start to finish. I felt pulled in to the story, feeling the emotions of each character, which was only emphasised by the relatively intimate location. The performance was by no means isolated to the stage (and it is a shame when productions are); members of the cast ran up in to the audience on numerous occasions, further incorporating us in to the action. The audience were asked questions, our answers and responses in part having a direct impact on how the play panned out. I won’t give away exactly what happened, but if you go to see this play and get involved, you may just get a free shot of tequila or slice of pizza!

We were not expecting the level of adult humour. The play was very funny indeed, especially Malvolio’s transformation in the latter half of the play. Let’s just say, my friend and I didn’t know where to look, especially as we were sat in the second row…

Overall, this was a very dynamic performance. The company has a wide range of people working on their plays, ranging from musicians to designers, technicians to the actors themselves, who evidently work together to create exciting performances. I will be keeping an eye out for future Filter productions.

Lucy Forsey 

Twelfth Night is showing at the Northcott until 9th November. For tickets click here. 

Alexei Sayle @ the Northcott

Image credits: exeternorthcott.co.uk

I had absolutely no idea what to expect from seeing Alexei Sayle. He was one of those highly esteemed people in the comedy world I’d always meant to learn more about, but my knowledge of whom was limited to a few stereotypical words – alternative, communist, great beard. That and the fact that this was his first stand-up tour in seventeen years put a lot of question marks on what was in store for the night.

Upon entering the great venue at the Northcott Theatre, my initial weird feeling was reinforced by the absence of anyone visibly under forty in my immediate eyesight. “Oh, great” I thought, “they are all going to collectively hate Thatcher”.

The task of warming up the audience (no pun intended, they aren’t that old) is entrusted to a veteran comedienne named Hattie Hayridge. Her act isn’t terribly sure of its aim. She sounds like she wants to come across as friendly and likeable, but her static stage presence and unexciting material achieve otherwise. After twenty minutes of simply okay stand-up, Hayridge leaves the stage and the audience waiting impatiently for the big man of the night.

And boy, is he big! Not as in fat. Well, he is fat. But he is also big. Right from his opening series of articulate bows he makes the entire audience love him the way only a comedy legend could. Whether he is shouting from the top of his lungs or leaving a perfectly calculated silence to hang in the air, running hysterically or almost whispering into the microphone – he is in charge. Actually, that’s not absolutely true. Even he can’t help cracking up at the booming laughter of the middle-aged lady I am sat next to. His method of regaining control is none other than the effective “F**k off, this show’s about me, not you”.

And it is unmistakably (and understandably) about him. “A lot has changed since I invented alternative comedy”, he declares, mixing the sense of triumph from the latter with disgust at the former. Anecdotes range from his early years on the comedy circuit to his most recent endeavours, Old feuds are re-visited and new ones started (Ben Elton and Michael McIntire deserving special mentions here) The entire show feels like a triumphant homecoming with Sayle reflecting on his entire career so far, but it is by no means “An evening with…” sort of affair.

Because Sayle gives much more than a bunch of stories with the odd surreal simile and obscenity thrown here and there. As one would expect, he is political, random and silly. But he is also mature, perceptive and critical. And he only mentions Thatcher once.

Walking home, I recall Sayle saying his wife had feared going on state after so many years might be ‘diluting the legacy’. But it was nothing like that. If anything, that night Alexei Sayle made me a convert.

Pavel Kondov

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Visit the University of Exeter’s Arts and Culture website here.

Footlights Column: The Jet Girls and director Jordan Murphy

Footlight’s weekly column gives an insight into everything happening in the run up to ‘West Side Story’, their Northcott show.

First up, meet the Jet Girls. Watch them in practice and listen to them talk about their training so far:

Now a word from the show’s director:

From the left: Steph Kraft, Alice Cousins, Sarah Ashton, Jen Valentine, Liisa Ration, Ellie Taylor-Roberts.
Image credit: Sam Lloyd

Hello! My name is Jordan Murphy and I am the director of this year’s University of Exeter Footlights Northcott show, Bernstein and Sondheim’s well known musical, ‘West Side Story’. Alongside myself, I have an extremely creative and enthusiastic team; Amy Collins (President/Co-Producer), Joanna Tew (Vice President/Co-Producer), Cheski Granger (Vocal Coach), Jack Campey (Musical Director) and Aaron McCrossan (Choreographer). It isn’t just these guys that are fuelling the show, we have a huge production team working along side us raring to go.

So far this term we have made very exciting progress, with an incredible turnout for auditions, seeing over 180 people for the 30 roles on offer. It was an intense process, the directorial team witnessed a vast amount of talented people and it was extremely tough to select who was recalled and who wasn’t. On that note, Footlights would like to extend a massive thank you to all that came to audition, it really was a tough decision and we enjoyed meeting each and every one of you. After the lengthy, stressful yet extremely exciting process of casting the show, we had our perfect cast!

Liisa Raitio
Image credit: Sam Lloyd

 

Jordan Murphy, Director.

For more updates and show news like us on Facebook here and follow us on Twitter @FootlightsUoE

Visit the University of Exeter’s Arts and Culture website here.

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Review: Dracula @ the Northcott

Online Books Editor Rory Morgan reviews Dracula at the Northcott Theatre.

Image Credits: Northcott Theatre

Deciding to spawn a dance production from such a strong and culturally recognisable piece of source material the Mark Bruce Company had a challenging task on their hands. And my how they rose to and excelled at the challenge! The performers all never falter in their ability to thrill and entice the audience, and fans of the famous novel will leave pleasantly surprised at their ability to stay so true to the story with the use of dance and aesthetics rather than words.

The narrative of the piece is strongly and creatively shown, leaving little room for confusion for even those completely oblivious to the story. There is no shying away from the gore and bloodiness, and the gothic nature of the tale is celebrated and heralded throughout the piece.

Jonathon Goddard takes the titular role as the infamous Count Dracula and thankfully avoids many of the clichés that taint many other interpretations that have come before. His movements are fast but precise and he manages to perfectly encapsulate the menacing and dangerous charisma that comes with the character. The recurring Vampire Brides (performed by Cree Barnet Williams, Nicole Guarno and Hannah Kidd) give this dark play the necessary injection of humour and help the production maintain a firmly gothic feel.

Image Credits: Northcott Theatre

A special mention must also go to the aesthetics and stage design. Small details such as the use of real food and tea further envelops the audience in this world of creepy castles and 19th century England. The set is successfully ominous and haunting but adaptable enough to assert the various tonal changes between each scene.

Music and lighting are also well judged and pivotal throughout and are truly a testament to the production team’s meticulous attention to detail. In particular, the use of an almost folk like sound and warm lighting in the last scene truly helps to project the necessary feel for the end of the production.

 The most triumphant aspect of the piece is however the pace of it. The first half brilliantly builds up tension and the second act is a spectacular climax to this gory tale. The performers seem to gradually speed up their movements as the play goes on, helping to heighten a sense of danger and urgency.

Perhaps not a production for the faint hearted, but nevertheless a pure delight for those old and new to Bram Stoker’s gothic tale. Provided you don’t mind a bit of blood.

Five stars    

Rory Morgan, Online Books Editor

Educating Rita Review

Photo Credits: http://www.exeternorthcott.co.uk/

Pink hair extensions duly clipped in, Mary Elliot flounced on stage as the excitable Rita, stunned at the sheer amount of books haphazardly strewn around her new teacher’s room. Deciding to enrol on an Open University Literature course to learn about “everything”, Susan White reinvents herself as Rita to change her dissatisfying life as a Liverpudlian hairdresser, forming an unusual bond with her tutor on the way.

Willy Russell’s Educating Rita still resonates decades later, exploring class issues, alcohol abuse and the pretensions surrounding education and culture. Julie Walters and Michael Caine made the play exceptionally popular in the BAFTA winning film adaptation of 1983, drawing from the original performance commissioned by the Royal Shakespeare Company in 1980.

Dr Frank Bryant is played by Eddie Holden, who fully highlights Frank’s underlying fascination for Rita and her outlook on life. Captivating an audience with a two man cast is an intense challenge although Holden and Elliot stepped up to the mark and thoroughly entertained.

The play was put on by The Uncommon Players in collaboration with Exeter’s Northcott theatre on Streatham Campus. The Uncommon Players is actually a recent project of the Common Players, a registered arts charity which is centred on creating and performing productions in the South West.

Rita’s extensions do inevitably come out yet Frank is still hiding bottles of scotch behind volumes of Dickens. Questions on the failure of the education system and what is really needed to make a good teacher arise as Holden and Elliot change the pace of their relationship, Elliot depicting a more self-assured Rita whilst Frank appearing more insecure.

A huge amount of books were provided by Oxfam Books Exeter to make up the impressive set of towering bookshelves. The set remained static throughout, contrasting Rita’s progression and highlighting that despite receiving the education that she strives for, nothing really changes, contributing towards the bitter-sweet ending. Scene changes were sometimes a little clunky but overall The Uncommon Players gave a heart-warming opening performance.

Vanessa Tracey 

Choral Society bring Mozart's Requiem to the Northcott

The choir takes to the Great Hall stage once again with Mozart’s Requiem on Saturday the 16th March.

Excerpts of this heartfelt performance recently echoed through the Northcott Theatre in association with EUTCO’s performance of Amadeus.

Exeter University’s Choral Society is one of the largest musical societies on campus and is dedicated to bringing spectacular performances of beautiful music to campus.

With Mozart’s Requiem tickets available from as little as £1, it is certainly not to be missed. Amnesty International have been invited to fundraise alongside the event as a part of their annual campaign week.

Choral Soc have been also fundraising for the Eddystone Trust, donating nearly £590 after their successful Bach in B Minor concert.

Photo by Emily Cobb

Liz Moore

Curious about "The Old Curiosity Shop"?

Tackling the famed thirty-seven chapters of Charles Dickens’s ‘The Old Curiosity Shop’ was never going to be an easy feat but Theatre Alibi certainly provide an impressive interpretation. With regards to modern adaptations, I confess I usually adopt an ‘if it ain’t broke don’t fix it attitude’ and as the play began I could hear the numerous voices of devout Dickens diehards crying ‘Why change it?’

Theatre Alibi Promotional Image

However, I was soon served one whopping slice of humble pie as Theatre Alibi proved me wrong. The writer, Daniel Jamieson, really plays with the theme of curiosity. His aim to ‘look at contemporary Britain with something of a Dickens’ eye’ is realised in his witty translation of Nineteenth Century London into the current economic climate. Jamieson succeeds in opening the audience’s ‘eyes afresh’ to the ‘curious country’ we still live in. The correlations between a novel written a hundred and seventy years ago and the world we live in today appear to be many.

Don’t be fooled into thinking this dark tale could only leave you reaching out for the tissues, Theatre Alibi weaves this tale of woe with ‘laugh out loud’ comedy.  The play captures the perfect balance of laughter and despair, revealing Dickens’s dark humour. Dick.E. Swiveller played by Malcolm Hamilton provides the perfect comic interlude for any unwanted tension. Hamilton’s characterisation is uncontrollably funny and well worth a trip to see!

For all you arty students, interested in music, setting, film and photography, Theatre Alibi certainly has something to offer. Their famed reputation as contemporary storytellers combined with a keen eye for a range of visual and technical theatrical techniques bring the vivid, colourful and diverse Dickensian world smack-bang into the twenty-first century.

I particularly enjoyed the on-stage, beat-box sound effects, mimicking the noises made by a character, for example the shutting of doors, the chewing of gum or the shutting of a drawer. This worked to expose a Dickensian fascination with the quirky idiosyncrasies of character, emphasising curious, yet often unobserved characteristics.

The carefully selected music plays a significant role in the play, effectively echoing the characters’ emotions and journeys through the narrative. Also be ready for one big musical surprise in the second half…Curious?

‘Curiosity Shop’ is set in an outdated record shop owned by the endearing, gentle ‘grandpa’, an old man desperate and struggling to provide for his orphaned granddaughter Nell. Resorting to gambling as a means to gain money, Grandpa crosses wires with the evil antagonist, Quilp and sinks deeper and deeper in debt.

Quilp becomes the ultimate expression of a Dickensian fascination with character. Derek Frood’s performance as Quilp leaves the audience squirming with disgust at his blatant evil, although, at times they are forced into an uncomfortable laughter. I particularly enjoyed how one member of the audience hissed at Quilp’s appearance on stage. I couldn’t help but laugh at this pantomime expression of anger and thought to myself ‘how wonderfully Dickensian’ and ‘how wonderfully human’?  The audience’s involvement not only within the play but in their relationships to the characters proves its success.

Don’t be put off if you are a novice to Dickens. Theatre Alibi opens an engaging pathway into the themes explored by Dickens and no previous understanding of ‘The Old Curiosity Shop’ is needed to enjoy the play.

If this review has left you curious, I highly recommend a trip to Northcott theatre. Or even if it’s just to impress your mates with a few chat up lines from the play’s very own love master, Swiveller, a ticket to see ‘Curiosity Shop’ should definitely be at the top of your shopping list.

Francesca De-Rosa

Quotes taken from the “Curiosity Shop” programme.