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‘A story predicated on equality, mutual support & finding your own path’: ROMANTICS ANONYMOUS – Bristol Old Vic (Online review)

In Musicals, Online shows, Opinion, Regional theatre, Reviews, Touring by Maryam PhilpottLeave a Comment

Romantics Anonymous is a story predicated on equality, mutual support and finding your own path as individuals (and as a couple) rather than waiting for someone else to come and save you from your life – implications that after years of rom coms and social messaging is subtly but usefully employed through a charmingly conceived but nonetheless carefully structured story.

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NEWS: Wise Children announces full cast of Romantics Anonymous & live socially distanced Bristol show on final night of digital tour

In Musicals, Native, News, Online shows, Press Releases, Quotes, Regional theatre, Touring by Press Releases

Wise Children, Bristol Old Vic and Plush Theatricals has announce that Emma Rice’s critically-acclaimed Romantics Anonymous will be performed live to a socially distanced audience for the final performance of their ‘digital tour’ on 27 September 2020 at Bristol Old Vic.

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NEWS: Beverley Knight, John Dagleish & Carly Bawden are cast in Suffragette musical Sylvia at The Old Vic

In London theatre, Musicals, Native, News, Press Releases, Quotes by Press ReleasesLeave a Comment

The cast of SYLVIA at The Old Vic, which has its world premiere at The Old Vic on 11 September 2018 (previews from 3 September) will include Delroy Atkinson, Carly Bawden, Verity Blyth, John Dagleish, Jade Hackett, Todd Holdsworth, Izuka Hoyle, Beverley Knight, Genesis Lynea, Jaye Marshall, Tachia Newall, Maria Omakinwa, Karl Queensborough, Ross Sands, Witney White and Elliotte Williams-N’Dure.

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Press pass revisited: Has wonder.land improved since its Manchester premiere?

In Features, London theatre, Musicals, Opinion, Quotes, Reviews by Terri PaddockLeave a Comment

When wonder.land premiered at the Manchester International Festival in July, reviews were decidedly mixed. National press who made the trip north were underwhelmed, bestowing a raft of three-star ratings, while local critics were kinder, bumping it up to a four-star show. In the intervening months, rumour has it, there’s been extensive redevelopment of this digital-age […]

MCQUEEN – West End

In London theatre, Plays, Reviews by Caroline Hanks-FarmerLeave a Comment

As we take to our seat we see an open stage where Stephen Wight (Lee) cuts an isolated and tortured figure, pacing the stage, lost in his thoughts almost as if obsessive compulsive tendencies are playing havoc with his mind. This historic theatre is one of immense beauty, opulence, luxury and completely fitting to host this new piece written by James Phillips.

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McQUEEN – West End

In London theatre, Plays, Reviews by Jonathan BazLeave a Comment

Haymarket Theatre, London

****

Written by James Phillips
Directed by John Caird

Carly Bawden
Making its West End transfer from the St James Theatre, James Phillips’ McQueen, a semi-biopic exploration into the psyche of fashion icon Alexander McQueen, hangs in composite parts. Just like the brown paper sizing charts we see when McQueen brings the waifish and mysterious Dahlia to his old tailors on Saville Row, Phillips has constructed a series slightly uneven vignettes, and strung them up together without stitching them into a cohesive whole. It makes for an undulating evening, that at some points is fascinating, and at others is achingly slow. However, even if seen only in glimpses, the window into McQueen’s tortured mind is worth every peep.
The play is a journey, taking us through the crushing spectre of depression, right through to the euphoric discovery of inspiration. The stage is often constructed as a dream scape, with lucid video designs  by Timothy Bird latching on to the melting fragmentations of McQueen’s mind, demonstrating how his fragile thoughts project not only those around him, but the very walls of his surroundings. Stephen Wight’s Lee McQueen starts the show before the audience have even taken their seats, pacing relentlessly, muttering and clutching a belt with foreboding animosity. There is an edgy restlessness to the proceedings before the lights even go down, and it creates a sense of dramatic anticipation that unfortunately is never again matched during the night. Scenes leap through unspecified gaps in time, and the dreamy hallucinogenic atmosphere undercuts any kind of narrative tension as the stakes drop from beneath the characters feet. John Caird’s direction shows a keen eye for the visual, and has a forceful specificity, but lacks nuance in the pacing. Some scenes linger far beyond their welcome, whilst other sections come to a dissatisfying halt just as they were building some intrigue. The humour of the opening exchanges between McQueen and his unexpected intruder, Dahlia (Carly Bawden), is a delight, but is never again revisited. There is a light tone to their banter, a dance of verbal one one-upmanship, intrigue laced with fear, fascination mixed with trepidation. It’s an enticing tone to begin the show, but it falls by the wayside as the play progresses and becomes bogged down with the darker harbinger of suicide.
Wight is tasked with the exploration of these macabre themes and does fantastic work. His is a central performance of tremendous skill, investing Lee McQueen with the right amount of sensitivity, whilst also hinting at an untapped well of visceral anger towards a world that will always expect more. There’s a real empathetic power to his speeches on the constant pressure to deliver  whatever is ‘next’, as Wight constructs an unflinchingly relatable portrait of a man waving to the expectant crowd with a fake smile and a shaking hand. Bawden also shows some impressive chops with her take on the murky girl from the tree. There is a spirited intensity and confidence to her scenes, but she also shows a knowing physicality that belies inescapable vulnerability.
What elevates the piece though, is the stunning choreography by Christopher Marney, expertly conducted by an ensemble of ghoulishly beautiful dancers. These balletic interludes both transition and invade scenes and are breathtaking whenever they feature. Dressed both as mannequins and runway models, the dancers are both nightmarish in their grotesque inhumanity and angelic in their perfection. Their movements can be stilted at one moment, and lyrical in the next, effectively echoing both the frustration and beauty of human thought and inspiration.
The meandering pace and lack of narrative focus threaten to undo McQueen at certain points, however, it succeeds with excellent performances and a sumptuous design in keeping with the artistic genius at its centre. When Caird is freed from the lightweight plot and able to examine visually the psychosis of creativity, and the abject terror of failure; the piece soars on great golden wings.

Runs until 7th November
Guest reviewer: Will Clarkson