Ever since Covid’s early days pioneering company Threedumb Theatre has developed and sustained the idea of the one shot livestream; this is unedited and raw but captures much of the spontaneity and edge which comes with live performance. Their latest, Notre Dame, is probably their most ambitious.
Three Women & Shakespeare’s Will comes from the pen of Joan Greening who has made something of a speciality of writing about historical figures connected to the arts, albeit in imaginary settings/situations. Thus in recent years she has given us the relationship dynamics of three literary sisters in At Home With The Brontës and a trio of Rosetti’s Women and their influence on the titular painter.
In The Machine Stops E. M. Forster unusually abandons his general milieu of the genteel classes and takes a look at a supposed future – the theme of connection, however, is still very much in evidence as he examines a world that is literally falling apart.
The Shrek franchise opts for a modern-day spin on the traditional form, undermining expectations and undercutting some of the more winsome aspects with one-liners and witty put-downs.
The Death Of England sequence by Clint Dyer and Roy Williams has had an interesting history. Starting life as a ten-minute microplay film courtesy of the Royal Court.
Anna Christie, which predates The Hairy Ape, won the 1922 Pulitzer prize for drama and therefore had to have something going for it.
There’s a world (indeed, a universe) of possibilities in this intriguing play about decisions and repercussions.
Remembrance Day seemed a perfect moment to review a production set just before and during the First World War, Hugh Salmon’s finely rendered Into Battle.
I remember a student I was once trying to get to read more saying “What’s the point, there are just too many books”. Perhaps I’m beginning to have the same reaction to digital theatre – there’s so much more of it out there than I had ever anticipated and although I think I can claim I’ve covered a fair amount of ground there is still plenty to get to grips with.
New online theatre material keeps popping up all the time – or at least it eventually comes to my attention which amounts to much the same thing; this latest one did so by a somewhat circuitous route. My Boy Danny played at this year’s recent Camden Fringe as an online stream, but I managed to muddle the dates and therefore missed it.
The Greek myths have endured across the centuries partly because they are timeless stories that can be endlessly updated and reinvented.
As it’s a recorded stream, you’re at liberty to choose your own encore moments and replay any numbers which particularly take your fancy – and there are bound to be several of those.*
Do these two pieces push the idea of audio theatre to its limits? Probably and the results are highly pleasing
Site specific theatre hasn’t been easy over the last eighteen months – in fact you can take out the first two words of that statement. It’s been tricky enough getting regular venues open, let alone some of the more esoteric settings which were used before you know what kicked off. A production that it would probably be almost impossible to revive now is Clare Bayley’s The Container which happened at the Young Vic in 2009. Set in an actual shipping container near to the theatre it allowed for just 28 audience members each time crammed onto uncomfortable benches around the perimeter with a narrow central strip for the 6 performers to use. 34 bodies in close proximity packed into a metal box with no sense of social distancing and not a mask to be seen; even Covid deniers might baulk.
It was just about a month ago that I observed that considering the dominant story of all our lives for the last 18 months has been the pandemic, there haven’t really been all that many direct responses to it in the form of theatre pieces. A new addition to the Scenesaver platform looks to rectify that particular shortfall with three monologues about individual experiences and response. Called starkly The Covid-19 Trilogy it comes from Elysium Theatre Company which is based in Durham. During the pandemic they released two sets of five monologues and the three pieces in this set are taken from these. Presumably they are a “best of” collection to whet the appetite; the rest are available on the company’s You Tube channel
Around The World In 80 Days is best known for the iconic 1956 David Niven film rather than the original novel by the prolific French writer Jules Verne; this version seeks to restore the original storyline to the centre of the narrative but does so with one playful eye on the theatrical possibilities where much is left to the audience’s imagination.
Arthur Smith pays homage to his (extra) ordinary Dad in Syd which premiered at 2018’s Fringe and is now an online show recorded at Falmouth and being streamed via the Pleasance.
The real life figure of Ed Gein looms large in horror films and literature. Most famously he was the direct inspiration for Norman Bates in Psycho and his terrible influence can also be found haunting The Texas Chainsaw Massacre and Silence Of the Lambs. But I’m not sure his real story has been told quite so directly as it is in Under The Floorboards which played live at the Edinburgh Fringe and has now emerged as an online performance film at this year’s Festival.
A warm and entertaining solo play, Lila Clements’ Look, No Hands has some distinctive features which marks it out from many other confessional shows of a similar type.
Two well known tales with a twist: The Little Glass Slipper As Performed By The Queen of France And Her Friends and Metamorphosis. The second piece now tops my personal Edinburgh Fringe online chart.