Category Archives: Circus and physical theatre

Things I Know To Be True

reviewed at the Mercury Theatre, Colchester on 17 October

Plays usually depend on what is said and the actions natural to the dialogue. Frantic Assembly do things slightly differently. Words, yes, and intelligent, character-credible ones at that by Andrew Bovell – but also a species of physical version of onomatopoeia from co-directors Scott Graham and Geordie Brookman.

This takes the form of part-mime, part-dance where the three women in the story – mother Fran, elder daughter Pip and younger afterthought Rosie – are lifted and swirled around the stage by their menfolk, partly in control and partly passive. It all takes place on a stage with minimalist furnishings (Geoff Cobham).

Kirsty Oswald as Rosie opens the drama with a monologue explaining that her gap-year travels culminated in a romantic encounter in Berlin which has left her disillusioned and robbed.

Then we meet her over-protective parents, Fran (Cate Hamer) who works in a hospital and father Bob (John McArdle) who has retired from an assembly-line job and now tends his garden while worrying about his children.

Pip (Seline Hizli) has come to the end of her marriage. Ben (Arthur Wilson) is a salesman on the way up, and on the make. Mark (Matthew Barker) is uncomfortable in his skin, as he reveals to devastating effect on his family in the second act.

Bovell’s script is a realistic and adult one, which managed to lure a predominantly teenaged audience into complete involvement with his characters’ difficulties; perhaps there’s something of Pip, Rosie, Ben and Mark in most of us, however submerged.

It’s acted with immense conviction, which in turn communicates itself across the auditorium. So that Rosie’s painful experience of growing-up contrasts with Pip’s determination to grow into her own person, not just the roles of wife and mother.

Fran’s increasing desperation to keep her brood together and happy within her own context in turn holds the reverse side of the mirror to Bob’s ultimately futile attempts to protect his daughters and maintain his sons on what he sees as a normal, honest path. These make up the drama and its inherent heartbreak which we can all recognise.

Four and a half star rating.

Things I Know To Be True runs at the Mercury Theatre, Colchester until 21 October with matinées on 19 and 21 October.

 

Leave a Comment

Filed under Circus and physical theatre, Plays, Reviews 2017

La Strada
reviewed in Cambridge on 28 March

This touring production based on the iconic Fellini film of 1954 has been devised by its performers with direction by Sally Cookson and writer Mike Akers. It is a Belgrade Theatre (Coventry) piece which takes advantage of the circus skills of the cast. So it could be defined as physical theatre; in practice, it’s more theatre of physicality.

La Strada tells the story of a village girl in post-war Italy, sold (as her older sister has been) to a travelling showman to act as his assistant. Naïve Gelsomina (Audrey Brisson) doesn’t want to leave home – she’d far rather listen to the waves – but her mother has four other children to feed, no husband and scant chances of earning a living.

The showman Zampanò is played by Stuart Goodwin. He lives for the moment, is quick to quarrel and quite happy to travel Italy on his motor-bike truck earning something at each stop – and spending it almost immediately. Goodwin has the measure of this unpleasant survivor.

While Gelsomina picks up some tricks of the barker’s trade, she becomes entranced by the collective world of the circus and in particular by Il Matto (its fool or clown). Bart Soroczynski blends skill with just the right amount of other-worldly feyness to make us see why Gelsomina finds him at one level the sort of kindred spirit for whom she was (perhaps unconsciously) waiting – and why he infuriates Zampanò to the point of murder.

The level of ensemble playing – mime, acrobatics, acting and music – is impressive. Matt Costain, Fabrizio Matteini, Sofie Lybäck, Niv Patel, Niccolò Curradi and Tatiana Santini are the players with instrumentalists Luke Potter, TJ Holmes and Tim Dalling. Benji Bower’s score works well as do the settings and costumes of Katie Sykes.

But the focus of the whole story is Gelsomina. Brisson gives full weight to the simple-mindedness which so irritates some of those with whom she’s in contact. But she also shows us the core of the girl, vulnerable in a land and society forced into selfishness by the needs of its time. it’s a finely balanced portrait.

Four star rating.

La Strada continues at the Cambridge Arts Theatre until 8 April with matinées on 30 March, 1, 6 and 8 April.

Leave a Comment

Filed under Circus and physical theatre, Reviews 2017