Category Archives: Reviews

Review: Made in Dagenham

Full of youthful vigour in tackling a valuable and important topic.

FRINGE RUN: 10/8-12/8 @ 15:00; Paradise in Augustines; [£10.50/£8.50]

Who, Where and When: Norfolk NYT; Paradise in Augustines; Friday 11 August, 15:00

The Show

Made in Dagenham tells the story of the female workers at Dagenham’s Ford factory who went on strike in 1968 over equal pay, bringing the issue into the political sphere. It’s based on the film of the same name.

The story moves at a good pace (some cuts may have been made in this production  to limit run-time), and there are some fantastic musical numbers, including a dancing Harold Wilson. The group numbers are clear and powerful.

It lacks the panache of similar shows such as Billy Elliot, but nevertheless tells a moving story through an excellent score.

The Cast

This was clearly a young cast, and there were a few wobbles to begin with. However, as they hit their stride, they really shone in both the singing and acting. There were some very moving performances in the second half in particular.

Overall

Much like Billy Elliot, Pride and the film that inspired this show, the story of the strikes is one that needs to be made accessible to a new generation, and this show does a fantastic job of just that. Add in a talented young cast, and you’ve got a lovely afternoon ahead.

Notable Songs

  • Wassname – Clare (Intermediate)
  • The Letter – Eddie O’Grady (Advanced)

Rating ♥ ♥ ♥ ♥

Review: Shakespeare for Breakfast

Kicking off this year’s Fringe reviews, we start with a trip out for breakfast on Shakespeare Island.

Shakespeare for Breakfast

Image from edfringe.com

FRINGE RUN: 31/7-25/8, not 12/8 @ 10:00; C; [£8.50/£6.50]

Who, Where and When: C Theatre; C, Chambers Street; Saturday 2 August 2014, 10:00

The Show

Shakespeare for Breakfast is a Fringe regular, and this is my third visit. Each year, the group present a different show complete with plenty of comic Shakesperian and pop-culture references.

This year’s show deviates from previous years as the cast have not decided to go for a straight adaptation of a single play. Instead, many of the tropes and characters from some of the most famous plays are woven together into a new story about the evil characters trying to change the plays to become the heroes. I won’t say much more for fear of giving the plot away.

Overall, the story was straightforward, and funny, but it didn’t quite have the charm of the play adaptations in previous years. Amongst those I went to the show with, this was a controversial opinion with some suggesting it was better! However, the writing was still sharp as a tack with plenty of laughs on all levels.

The Cast

I don’t really have a bad word to say about this year’s cast. The play was performed with enthusiasm, which meant even the most weak of jokes still found giggles. There was quite a bit of dual casting, which was part of the comedy, and this only strengthend the performances.

Overall

As always, you can’t go far wrong booking this show, especially as there is a free cup of coffee or tea and a croissant thrown in. If you’ve seen it in years before, you may feel it’s not up to usual standards, but I wouldn’t let that put you off a thoroughly enjoyable morning.

Rating ♥ ♥ ♥ ♥

Review: Go for Bronze

One of the biggest challenges any singing teacher faces is teaching sight-reading skills. Sight-singing is often neglected because singers tend to learn more by listening than reading. Many singers can go a long way with only rudimentary ability to read music – much further than a violinist or pianist can.

On my search for resources, I discovered Go for Bronze. Go for Bronze is a resource produced by the National Youth Choir of Scotland and it is used by them to develop musicianship in their choirs.

Image from musicroom.com

Image from musicroom.com

 

 

Title: Go for Bronze
Type of Material: Teacher’s Folder, Student Booklets
Publication: 2012, NYCOS
RRP: £35 for binder, £30 for 10 booklets (or individually from the BKA)

 

 

 

Go for Bronze is a comprehensive resource which is primarily designed for use with groups of children aged about 7 to 11. It uses traditional songs to help teach musicianship through the Kodaly method. It is structured to use tonic sol-fa along with physical movement and singing to teach fluent music reading.

Go for Bronze begins with the concept of holding a steady pulse or beat, before introducing the minor third (the easiest interval to sing). From there, rhythms are introduced in a slightly different order to traditional educational texts, as they draw on folk music rhythms. For example, syncopation comes much earlier in Go for Bronze than in most piano tutor methods. Complexity of rhythm is also built up much earlier than complexity of pitch which is really good for singers as they tend to be weaker on reading rhythm. Singing activities are interspersed with writing tasks as stick notation and then staff notation are introduced.

The general structure of the book is excellent, and very logical. There is plenty of time given to practice each concept before a new one is introduced. All the text is big, bold and clear. There is also plenty of information in the student book, making it a resource students can use confidently at home to practice and keep for years to come.

The pace of the book is quite slow – it takes a month or more to get to three pitches (so, mi and la). This can be frustrating for those who already read music, and for this reason, Go for Bronze may not be the best material for those students. For non-readers, or those with little more than school level knowledge, Go for Bronze starts right from the basics without being patronising. Despite the suggested ages, I mainly use this book with adult beginners, and they are very happy using it. Many of them enjoy singing songs they know from their childhood which appear in the book.

If you are considering using this resource, it’s well worth buying the teaching manual as it gives very clear guidance on how to teach each section. There are also loads of ideas about additional songs and games to reinforce concepts. The teaching manual also includes the end of level tests and photocopyable certificates which can be given to students. The Go for Bronze manual includes both levels in the one binder. The student books are good, but probably insufficient if one is using this programme with a group, or with several students. Unless you are already very familiar with Kodaly based learning, I would advise getting the Go for Bronze teaching binder.

Overall, the cost of this resource is quite high, but the effectiveness makes the £35 worth every penny. Since using this resource, I have become completely converted to this being the best method to help singers learn to read music. Kodaly resources are, by no means, the be-all-and-end-all of musicianship resources, but they do what they do extremely well.

Go for Bronze has two further levels: Go for Silver and Go for Gold. By completing the whole course, students encounter an equivalent understanding of music theory to the ABRSM Grade 5 theory examination.

Content: ♠ ♠ ♠ ♠ ♠
Layout: ♣ ♣ ♣ ♣
Value for Money: ♦ ♦ ♦ ♦
Overall: ♥ ♥ ♥ ♥ ♥

Review: Sing Musical Theatre

One of the things I had been intending to add in to my blog posts is reviews of new materials. Now I’ve finally been shopping, here’s my first review.

Sing_Musical_Theatre_Wouldnt_It_Be_Loverly_Book_and_CD_e

 

 

Title: Sing Musical Theatre; Wouldn’t It be Loverly? (Foundation, Grades 1-3)
Type of Material: Sheet Music with Backing CD
Publication: 2011 Faber Music
RRP: £14.99

 

 

I was delighted when I discovered this series as I have been looking for a “graded” approach to musical theatre songs for a while. Musical Theatre is dominated by vocal selections, or anthologies sorted by theme or voice type, rather than difficulty. This made it hard to give students a single text to buy. Thankfully, Trinity developed these volumes which help students up to Grade 5 work on easy but satisfying songs.

Wouldn’t It Be Loverly? has a good selection of songs, many of which are well-known. A good number, however, are taken from UK Youth Music Theatre productions which are less known. This could be a disadvantage, but I like that the book isn’t just the standard songs. There is a good range of styles and dates which means one could pull an LCM programme out of this book alone for the early grades.

This book is also an educational manual as each song has some background on the show, and tips on both musical and theatrical performance. This makes it a great buy for learners as they have reference material to support their practice. For LCM candidates, the information about the song is really helpful for the viva too.

The backing tracks too are good. They’re nicely paced (not too fast or slow) and have a fuller sound than just the piano, with some percussion etc where appropriate.

I would recommend this book to any beginner or teacher working with beginners. It’s not too condesending to use with adults either, and the inclusion of backing tracks really makes this a value for money choice.

Content: ♠ ♠ ♠ ♠
Layout: ♣ ♣ ♣ ♣ ♣
Value for Money: ♦ ♦ ♦ ♦ ♦
Overall: ♥ ♥ ♥ ♥ ♥

Review: The Messiah (2014)

As has become tradition for me and my friends, 2014’s theatre-going opens with the Edinburgh Royal Choral Union’s Messiah. For 127 years, ERCU have been performing this work at the Usher Hall on the 2nd of January, and I’ve been every year for the last five years.

ERCU_Messiah_2014.JPG

Where and When: Usher Hall; Thursday 2nd January 2014, 12:00

The Show

There is little that I can add to the myriad of essays, books and reviews which have been written about Handel’s Messiah over the years. The Messiah is the archetypal oratorio and possibly one of the best known choral works of all time. It is performed constantly around the world in various forms and is part of the central canon of vocal and choral repertoire. ERUC usually perform the work more or less in its entirety as published in the Watkins-Shaw edition.

This year, there were some cuts, notably, The Trumpet Shall Sound was not sung in full, which was a disappointment. In Part II, items 34 (Unto Which of the Angels said He at any Time) to item 37 (The Lord Gave the Word) were not performed, and in Part III, item 49 (Then shall be brought to pass) to item 51 (But Thanks be to God) were also omitted.

The Cast

The Choral Union themselves were, as always, outstanding. I happen to know a few of the members, and I know that they have very few rehearsals for this concert. Instead, there is an acquired level of knowledge from the annual performance, and a lot of hard work by individuals.

This year’s guest conductor, James Lowe, is usually an orchestral conductor, which led to some interesting experiences for the choir. He did decide to take an interesting interpretation with the choral elements. Many of the arias were taken (to quote a choir member) “at quite a lick”, and no where was this more obvious than in the Hallelujah Chorus, which did not have the usual dramatic changes of tempo. I’m not sure I liked it, but there are few rules with a work such as the Messiah about how one should interpret performance directions!

Overall, the soloists were a weaker group than in previous years. The bass, Andrew McTaggart, was the least notable, showing neither outstanding talent for baroque oratorio, nor a distinct lack thereof. The same could not be said of the mezzo-soprano, Louise Collett, nor the the tenor, Jamie MacDougall. Neither seemed vocally suited to this work. The mezzo-soprano performed with so much vibrato I was unable to tell at points if she intended to sing a trill, or was just wobbling a lot! Despite her rich tone, Ms Collett also failed to properly sing over the orchestra in the lower passages. The tenor was, I suspect, closer to a baritone, and thus lacked the rich, honey sweetness needed to really excel in this work. On reading his biography, I was given to understand than he sings a lot of German lieder, and I feel this would suit his talents rather better.

On a brighter note, however, the soprano, Emma Morwood, was outstanding. Her vocal vibrato was beautifully controlled allowing her to sing the intricate runs, trills and turns of Handel’s score with precision and expression. For the first time, I truly enjoyed all the soprano arias, rather than slowly zoning out as the twittering obscures the technical genius of the composer. I can only hope that she enjoyed her experience sufficiently to want to return and perform in future years.

Overall

Once again, a lovely New Year day out with friends, enhanced by the picnic lunches and traditions of this event. This is, perhaps, the weakest of the performances I have seen so far given the conductor, soloists and cuts, but that does not detract from the wonderful chorus, excellent musicians and remarkable music.

Notable Songs

All the arias in the Messiah appear in graded and diploma lists, and should form part of any classical singer’s repertoire. Rather than listing them all, I recommend purchasing a vocal score and exploring these great works yourself.

Rating ♥ ♥ ♥ ♥

Review: Dark Road

The Royal Lyceum’s 2013-14 season gets off to a World Premiere start with Ian Rankin’s debut play, Dark Road.

Dark Road

Where & When: Royal Lyceum Theatre, Edinburgh; Friday 27th September 2013; 7.45pm (Preview show)

The Show:

It will come as no surprise that Ian Rankin’s theatre debt is a tense crime thriller set in Edinburgh. However, this is the only predictable part of this show. Isobel McArthur, the first female police chief constable of Edinburgh, is considering retirement after 30 years service, and this brings her to recall the case which made her career. Alfred Chalmers was convicted of murdering four young women in 1988, but as the play progresses, it seems she is not as comfortable with the outcome of the case as it might have seemed. Through reviewing the case files, Isobel becomes increasingly convinced something is not right, and this is compounded by the actions of her daughter and colleagues.

I don’t wish to give away too much of the plot, but it has some great twists and some startling moments (it’s been a long time since I’ve heard shrieks in the theatre from the audience!). The action is well paced, and the dramatic conclusion resolves the story very well.

There were weaknesses in the script, as is to be expected from a writer who is new to this genre. However, I think Rankin could go on to write excellent theatre, and possibly even better television and film scripts. He certainly has a flair for the kind of edge-of-your-seat drama needed, but has not had to compromise on the complexity of his characters to achieve it. Perhaps some roles were more incidental, but then this was really a play about the strange and co-dependent relationship between the cop and the criminal.

The set had some teething problems, but given that this was a preview, it was forgivable. However, the set was complex compared to the Lyceum’s usual style, and perhaps this was overambitious.

The Cast:

Taking the lead role of Isobel, Maureen Beattie captured her character’s depth, complexity and human fragility well. There was a high level of subtlety in her acting that was clearly communicated to the audience, drawing out a sympathy with her that made the shocking moments all the more hair-raising.

Sara Vickers as Alexandra and Robert Gwilyn as Frank provided excellent supporting characters, although neither were as well-developed in the script as Isobel, and consequently had less to work with. I did enjoy Phil Whitchurch as a deeply insane Alfred Chalmers. The other characters were all more cameos than anything else, but all were well acted – especially the lighter moments provided by Nicola Roy and Jonathan Holt in their roles as Janice and Brian, the young police officers.

Overall:

If you don’t take this too seriously, and enjoy it for what it is, Dark Road is a great night out at the theatre. The story is engaging, the staging provides some real jump-out-of-your-skin moments and the two central characters of Chalmers and McArthur keep you gripped to the end. Shakespeare, it is not, but it is definitely more enjoyable than many other new works at the Lyceum in recent years which have tried to be intelligent, but fail to captivate the audience. I look forward to the TV adaptation in the future that this script is crying out for.

Rating: ♥ ♥ ♥ ♥

 

Review: Hairspray

The opening of the 2013/14 theatre season at the Playhouse was bright, colourful and bursting with joy.

Hairspray-show

Where and When: Edinburgh Playhouse; Tuesday 3rd September 7.30pm (Run ends 14 Sept)

The Show

Having seen the film of Hairspray (which I wasn’t overly impressed with) I wasn’t certain whether I’d like the show. I was pleasantly surprised. The film comes over as brash and silly, but on stage, the bold strokes in which this story is painted are just enough to get over a very real and important point about social acceptance while still allowing the audience to have a whole lot of fun.

The basic plot takes place in 1962 and follows the rather “larger than average” Tracy Turnblad who has ambitions to dance on The Corney Collins Show on TV. While planning how to manage it, she meets some of the black kids in her school and begins to question the racial segregation which is considered normal. Comic capers ensue, and a happy ending is had by all. It’s a little bit like someone smushed together Show Boat, Grease and the great British Pantomime tradition (complete with the Dame in the form of Edna Turnblad) and then topped it a little bit of Sixties technicolour. Despite this strange combination, the story works. It’s not too silly, it’s not too brash, it’s not too moralising – it’s just right.

The musical numbers are a standout highlight of this show and one of the reasons for it’s success. Shaiman and Whittman write fantastic songs which manage to pastiche many great 60s hits while still allowing the music to be fresh, innovative and unique. It doesn’t surprise me at all that they were invited to write the music for Bombshell, the fictional musical in the US TV Show Smash.

My final note is that although there’s an “everyone get up and dance” moment at the end of the show, this is very clearly after the curtain call. This small detail made me very pleased because it allows the audience to choose whether to give a standing ovation, rather than being forced into one. It’s my petpeeve to attend shows where I am not given that theatre-goers’ right not to give a standing ovation. However, this production pitched their ending beautifully, allowing me to remain seated during the curtain call, and then stand to join in with the dance break.

The Cast

Surprisingly, the opening night in Edinburgh of this tour featured not one, not two, but six replacement cast members, including the understudies for both Tracy (Nikki Pocklington) and Edna Turnblad (Daniel Stockton). In fact, my ticket-broker-come-musical-theatre-encyclopedia companion took most of the interval to work out how there could be six replacements on stage, but only five swings in the cast (the answer being that Tracy’s understudy is a “walking understudy” meaning she has no other role in the production due to the requirements for the actress to be large – you learn something new every day!). Of course, most of the audience would have no idea, and it certainly didn’t show that this had been the debut performance in their role for several of the actors.

The highlight performance of the evening was, for me, Lauren Hood as Penny Pingleton. Penny is a geeky and awkward character which would be easy to overact, but Ms Hood’s performance was spot on. Paul Rider was also a gorgeously entertaining Wilbur Turnblad opposite the understudy for Edna, Mark Hilton. The weakest performance of the night, sadly but expectedly, was Lucy Benjamin. Although her acting of the part was lovely, and her physicality was good, her singing was rarely singing – very raspy, breathy and strained.

There were some technical issues which also detracted from the largely excellent performances. The balance of the sound was often poor, making it difficult to hear the words to the songs. There was also one glaring costume problem – Edna’s finale dress was clearly intended to be pink (to match Tracy and Wilbur’s costumes), but instead it was a strange, clashing shade of red. I sincerely hope that this was due to costume damage, and not a directorial choice!

Overall

This is a lovely, upbeat musical best seen at the theatre rather than on film. It’ll definitely be appealing for teenage girls as well as adults, making it a good family choice. The lively music will be ringing in your ears long after you leave the theatre, and the moral of the story, about being true to what you believe is right, is one everyone could use a reminder of now and then.

Notable Songs

  • Good Morning Baltimore – Tracey (Medium)
  • I Can Hear the Bells – Tracey (Medium)
  • You Can’t Stop The Beat – Tracey/Chorus (Medium)

Rating ♥ ♥ ♥ ♥

Review: Pippin

A return to Morningside’s Church Hill Theatre for a second American High School Theatre show.

250PIPPINshow_12007_31781

FRINGE RUN: 16/8-20/8 (Not 17) @ Various; Church Hill Theatre (137); [£5]

Who, Where and When: American High School Theatre; Sunday 18th August 2013; 4.15pm

The Show

Pippin is a fantastic example of a post-modern semi-surreal musical theatre. The show takes influence from the Italian Commedia Dell’arte which influenced everything from Shakespeare to the Pantomime. The basic principle is that characters are charicatured and slightly abserd. This is the case in Pippin, where the story is told by the performing company, and the journey of the central character takes him to meet a range of personalities. It is surprising how similar this seems to the Bernstein operetta Candide in content and physical style.

What makes this show so brilliant is that it is very flexible. There are many smaller parts, so although some leads do have a heavy burden, the ensemble of secondary characters is large and varied. This makes it a surprisingly good choice for a High School Theatre group, as well as being capable of wowing audiences on Broadway by adding performers trained by Circ du Soleil.

I really enjoyed the story which is simple, but gripping, and comes to a dark and challenging conclusion (which I won’t spoil, lest you are able to see this show some day). Every character Pippin meets on the way is colourful and entertaining – from his overly matcho brother (played in this cast by a female actor, which only added to the hilarity) to his dear batty grandmother.

The Cast

Although young, the cast, by-and-large, rose to the challenge of this show. Some vocal performances were perhaps a little too weak. The girl playing Fastrada struggled with the demanding songs and was unable to hold her pitch accurately at times, and the actress playing the grandmother was clearly very nervous despite her wonderfully entertaining acting.

However, all of the cast threw themselves into the mood of the piece which was really the most important aspect in this show.

Overall

Pippin is a fantastic show, and deserves to be remembered as part of musical theatre’s greatest. In particular, the nature of the piece makes it extraordinarily accessible for a wide range of theatre groups (I could imagine it would work well for mixed-ability theatre groups such as Chickenshed). The story is engaging and funny (the hallmarks of Mr Schwartz of Wicked fame) and the characters lively. One can only hope that the Tony Award for Best Revival-winning Broadway production is given a West End transfer and a long run in the UK.

Notable Songs

  • Corner of the Sky – Pippin
  • Simple Joys – Leading Player
  • Spread a Little Sunshine – Fastrada
  • And There He Was – Catherine
  • Extraordinary – Pippin
  • I Guess I’ll Miss the Man – Catherine

Rating ♥ ♥ ♥ ♥

 

Review: Merrily We Roll Along

First and only Sondheim of the season.

MatthewHomquist_Merrill_We_Roll_Along

FRINGE RUN: 12/8-24/8 (not 18th) @ 10:10; Greenside [£5]

Who, Where and When: Red Oak Theatre; Greenside; Saturday 17th August 2013; 10.10am

The Show

One should be under no illusions about Sondheim. His work is genius, but it’s not easy to get right. Merrily We Roll Along follows the life of composer Franklin Shepard, starting at the end of the story as his success crumbles away around him when he realises that on the way to fame and wealth, he has lost the people he cares about the most. The story then travels back in time, reversing the decisions Franklin makes, and ending at the start, where he and his closest friends have nothing but optimism.

As is always the case, Sondheim’s musical score is exquisite, with multi-layered harmonies and a huge range of songs incorporating both lyrical numbers, and more dialogue-based elements. Tying the whole score together, the title song “Merrily We Roll Along” is used to designate the movement back in time.

The story as a whole is typical of the “American dream” genre of American art. In this particular case, some of the American dream rhetoric is challenged (that about wealth and fame being the highest form of success) while others (doing what your heart desires no matter what) are underscored as morally good. Certainly, if this is Sondheim commenting on his experience of success, he implies that his fame as a composer is not as important to him as the musical works he has produced. However, I doubt Mr Sondheim is strapped for cash yet he censures Franklin for making decisions which bring financial gain at the cost of his art.

The Cast

Unfortunately, I feel Stephen Sondheim is in the same category as Jason Robert Brown – best not attempted by amateurs. Although this cast did well to perform the music, I felt there was significant depth missing in their acting performances. I didn’t really believe the depth of the friendship between Franklin (Henry Adams) and Charley (Andrew Horton) – I mostly wondered what they could possibly have seen in each other. Franklin was too business minded, and Charley too geeky, and so they seemed to fundamentally have nothing in common. Equally, though Mary Flynn (Rosie Archer) is supposed to be in love with Franklin, she mostly came off as lonely and desperate, rather than devoted. I felt the direction left this whole show a cast of caricatures, which trivialised the deep and powerful emotions running through the musical score.

There were also significant problems with audibility at times as not all of the cast had mics. Although the central cast were afforded amplification, there was no such grace given to the supporting chorus or peripheral characters and as a consequence there were a lot of lines which were not clear over the volume of the live band. It would have been a better decision to either mic everyone, or no one, rather than having a mixture.

The band, I must say, were brilliant, and I really enjoyed being able to see the musicians on set. I have seen shows of this difficulty suffer from lack of a conductor, but that was not the case here.

Overall

This is not one of Sondheim’s most innovative or exciting musicals, although it is not without merits. However, I was underwhelmed by the performances of this cast. A less difficult show might have seen them produce very good theatre. As it is, this is little more than mediocre. The band, should, however, be congratulated for being the highlight of the show for me – I actually think I spent as much time watching the musicians as the actors!

Notable Songs

  • Franklin Shepard Inc – Charley (Hard)
  • Not a Day Goes By – Beth (Medium)
  • Good Thing Going – Charley (Hard)

Rating ♥ ♥ ♥

Review: Histoire d’Amour

This is the first of two shows I’ll be reviewing from the Edinburgh International Festival.

histoiredamour

EIF RUN: 15/8-18/8; King’s Theatre; 19:30 [£12-£30]

Where and When: King’s Theatre; Thursday 15th August 2013; 7.30pm

The Show

This show is literally like nothing I have seen before. The stage is set up with a large screen, on which a projection is shown, as though the audience is going to watch a film. However, once the titles have rolled, a live actor appears on stage, surrounded by a projected animated set drawn in the style of a graphic novel. The story proceeds to unfurl with only two actors interacting and moving within their film surroundings. I think the closest things I have seen prior to this are films like Mary Poppins and Bednobs and Broomsticks which have portions of film with live actors in animated sections. This was, however, a far cry from Disney.

The plot, titled “A Love Story”, is really the story of an obsession, more than romance. The monochrome graphic novel projections, and the virtually monologue script create a Film Noir effect that only darkens an already deeply disturbing and twisted story that does not have a happy ending. I found myself spell-bound (or should that be curse-bound?) by the dark but uncomplicated plot, though I know for others it was really too depressing, or did not give enough background to the characters.

The Cast

There is nothing I can criticise about the cast. The chorography of this show is demanding and challenging, with sets flying around the characters. Neither Julián Marras nor Bernardita Montero put a foot out of place, using projected props with absolute precision. Julián Marras is virtually the only character to speak, as he narrates the story in a way which leaves you feeling that we are not so very far away from evil as we would hope. Although his character’s acts are horrific, his inner monologue shared with the audience gives a disturbing insight into how easy it is to justify such behaviour. Bernardita Montero plays the virtually silent victim, and the play raises some important challenges about the nature of consent, and the implications of silence.

Overall

This was a dark and disturbing play, which would not be suitable for all audiences (there is a substantial amount of strong and explicit language and depictions of sexual violence) – it is harrowing to watch even as it is gripping. I adored Teatrocinema’s innovative form of blended theatre, and this alone is worth seeing. Definitely one of the best things I’ve seen all festival season.

Rating ♥ ♥ ♥ ♥ ♥