Show by present critiques for Act II Festival
You can learn the principle evaluate of the Act II Festival right here. Below you will see the 12 particular person critiques for every present featured. These are given within the operating order of the day.
The Startup
★★★
Introduced because the HSRG Fresh Starter Competition, Dhanush Giridhar‘s The Startup gets us off to a solid start. After Brooke Agius’ Judge units the scene in a robust opening speech, the three entrepreneurs (Caroline Letelier, Lauren Owen and Olivia Steele) start to pitch their enterprise concepts.
This pitch scene is splendidly directed by Dominika Ucar, with the three circling one another like gladiators, preventing for the centre of the stage, leaping in at any time when there may be a gap to push their opponent out of the highlight. Pitches full, we then watch them speaking collectively as they await the announcement of who has gained, and it’s right here we be taught a bit extra about every and their motivations for coming into the competitors. This makes for a stable construction as we progress easily by way of every scene.
The narrative would profit from introducing us a lot earlier to its central theme of labor visa points and the fitting to stay within the UK, as this could enable us to raised perceive what the play needs to say. But the sturdy directing model and fantastic performances nonetheless make this a superb brief that greater than holds its personal, and one that would clearly be constructed upon.
Written by: Dhanush Giridhar
Directed by: Dominika Ucar
The Sands of Perpetual Longing and Mutual Dissatisfaction
★★
Young couple Robin and Spencer (Madelyn Morgan and Louisa Naiyera) are stranded within the desert and discover themselves speaking about their lives, their relationship and their hopes for the longer term. Of course, this brings up outdated wounds and lingering resentment between them.
Structurally there’s a lot to admire, with the usage of flashbacks easily launched, and the stream by no means being interrupted as they simply traverse between scenes. However, it’s a battle to obviously hear dialogue due to low quantity, which in flip causes a disconnect and lack of understanding. Had I learn the present blurb upfront, I’d have realised they’re stranded on account of being robbed and left right here, which can have helped make clear the scenario, however advance studying shouldn’t be a pre-requisite of having the ability to comply with a present: that’s the author’s job, to guide us there. So I discovered myself scratching my head a bit making an attempt to understand the how and the why, and by no means actually made a connection due to it.
There are some good touches that do add comfortable humour: the manufacturing of limes from pockets is an excellent little scene that has the viewers chuckling. But it’s not fairly sufficient, making this a brief that handed me by with out making any nice influence.
Written by: Sunny Cheong
Directed by: Peter Smart
Lavender
★★★★
What instantly makes Lavender stand out is that it’s clearly set in a really totally different period to every little thing else on provide right this moment. The somewhat formal speech and vocabulary immediately transports us into the previous, with a Victorian really feel to all of it. It’s a credit score to Isaac Banjoko’s writing mixed with Demir Timuray’s path that that is so immediately clear, permitting us to be comfy with what follows.
We first meet the Webber household, the place father and mom (Rubayet Al Sharif and Mia O’Gorman) are dismayed on the harm to the household identify their son Robert (Joe Devitt) is inflicting, having been witnessed “walking with men”. To defend their fame they prepare to marry him off to the daughter of the Windsor household (Jemica Taylor, Cleo Donnials and Thomas Lafferty), who’re equally as formal and anxious about their household identify. They not less than wouldn’t have any considerations in regards to the good reputation their daughter has. Except the daughter has her personal secrets and techniques; ones that are higher stored than Robert’s. The complete piece pivots superby round one scene between son and daughter the place they share their secrets and techniques and agree on the comfort of the wedding for each.
The play leaves the viewers with a lot to ponder as the 2 households fortunately rejoice their success in bringing their youngsters collectively. Even set up to now, there are clear nods to the current concerning sexual attitudes, and the way at occasions individuals are nonetheless pressured to suppress their true nature. This is one other play that feels as if it might so simply be prolonged to an hour and permit its themes to be even additional explored.
Written by: Isaac Banjoko
Directed by: Demir Timuray
Breathe
★★★★
“I didn’t think my rape would look like this” is a robust opening line and one which calls for a robust comply with up. And that’s precisely what we get from Breathe. Because that line is adopted by a superbly haunting choreographed scene as we watch the occasions previous Lisa’s rape by Aby. It’s an unimaginable second that claims every little thing it must say and not using a single phrase being spoken.
Roxanne Delreux‘s central efficiency is totally mesmerising as she makes an attempt to grasp what occurred, nearly convincing herself it was her personal fault. She is greater than ably supported by Elena Lushaku and Hermela Michael who assist hold our consideration all through.
The play takes an sudden flip when Michael reappears to ask us to vote on the place the play goes from there. At first this feels crass and misplaced, however then I realise it has pressured us to take accountability for what has occurred, taking us from mere spectators to enablers, as a result of “silence isn’t a yes”. I’d recommend that this wants a bit remodeling to cease it being so jarring in the way in which it’s launched and serving to egage the viewers extra totally, however even in its present format it lifts this play up even additional.
Breathe tackles the very related subject of consent and the way blurred the traces may be, made all of the clearer by closing monologues that drive us once more to consider our personal actions, or the dearth of.
This is a really unbelievable brief play that would simply be developed and introduced in an extended format. It would greater than maintain its personal as a standalone present and I genuinely hope that it does simply that sooner or later.
Written by: Laure Bacchiocchi
Directed by: Jasmine Silk
The Other Side
★★★
Happy couple Evelyn and Freya’s world is destroyed when Freya is murdered by Tristan, a person clearly affected by extreme psychological well being points; one thing that’s launched however then completely forgotten afterwards. We are left to witness how Evelyn manages the grief and loss, questioning if her life will ever be complete once more and how one can probably transfer on from such an occasion.
It’s a promising premise and in locations hints at what it might turn into with extra work. But on this brief play format it fails to actually scratch beneath the floor, leaving us craving for a bit extra depth. Too a lot time is spent cresting the idea with out following its concepts by way of. Both Evelyn’s grief and Tristan’s psychological well being are left underdeveloped.
There additionally must be higher consideration of sightlines. Too a lot occurs at a low degree, with actors sitting on the ground. This leaves anybody greater than two rows again with little probability to truly see the motion. It’s a disgrace, as a result of once we do there are some sturdy performances, predominantly from grief-stricken Andy Mackinnon and Tilly Wood, whose optimism at life even when hers is about to finish is transferring.
The lighting design is taken into account, used to set moods fairly particularly; the greyness that follows Tristan (Benjamin Sumrie) is very noteworthy. Equally, the usage of voiceovers as we hear messages left by Evelyn for Freya after her dying additionally exhibits promise that there might be extra to this play if it had been additional developed.
The Other Side feels very a lot a chunk that struggles with the brief run time. Hopefully it might construct on its concepts extra efficiently if given longer.
Writtenby Chloe Moore
Directed by Lenard Kelemen
Bliss Cafe
★★
Two fathers sit in a restaurant lamenting that their daughters are in a queer relationship. Their bigotry and narrow-mindedness is obvious to see. Around them the restaurant employees pay attention in and cross their very own feedback on the 2 and their views, which they really feel needs to be a factor of the previous.
It’s a intelligent framing machine that enables for differing attitudes to be clearly introduced. But it’s let down by making an attempt to cram method an excessive amount of content material into the brief twenty minute operating time. The motion sometimes falls (it might appear intentionally) into farce, which feels inspired by way of an actor on the rear of the room being the voice on the opposite finish of telephone calls, however sounding extra like a yapping canine. Sometimes what appears to be like intelligent and humorous on paper is much less so when it reaches the stage, it simply feels beginner.
The writing does present numerous promise, with sections of the play hitting their goal exactly. This is very clear throughout one dialog between a father and one of many waitresses, the place for a short second there appears widespread floor. More of this could do that play wonders.
At different occasions it wants reigning in to simply tighten every little thing up. It feels cluttered and messy in a few of the extra manic moments, struggling to resolve fairly what it needs to be: is it farce or critical commentary? The former drowns out the latter just a bit an excessive amount of.
The closing monologue, nevertheless, is well-crafted in expressing the play’s ideas, demonstrating that it might work so effectively with out falling too typically into farce.
Written by: Younes Dine
Directed by: Sam Smith
While the World Goes Under
★★★
There are numerous fascinating concepts at play inside While the World Goes Under, which makes for a stunning, considerate twenty minutes.
A and B (Elly Wilson and Charlotte Kindred) are a pair showing to be in a robust relationship. But all shouldn’t be as clean because it first seems. They are clearly from totally different backgrounds with very totally different views on life. One is stuffed with hope and perception, the opposite much less so, as a substitute filled with doom at how we’re slowly drowning beneath the mess we’re creating. Or possibly extra exactly the mess ‘they’ are creating. It’s not helped by her consuming both, when she might reveal what she actually thinks with no recollection of doing so the subsequent day.
The narrative will surely profit from extra focus, as what begins with a rant in regards to the higher courses who run the world being ineffective later turns into a chunk about whether or not it’s proper to convey a brand new life right into a tousled world.
Everything the play touches upon has loads of mileage and it does make for some fascinating dialogue. The actual problem is that it struggles to tie all its ideas collectively. However, it exhibits nice promise that in an extended format it might higher discover them.
Written by: Rosie Pierce
Directed by: Anya Anderson Birch
The Art of Doing Nothing
★★★
Being informed the lump in your breast shouldn’t be most cancers needs to be nice information. But not for Reena, who had one way or the other informed herself that if she was going to die it might not less than enable her to truly reside for a short time. Instead, figuring out her life will go on leaves her feeling dissatisfied and questioning what her existence actually is true now.
This is the one one individual piece within the pageant and Leah Omonya fully nails it. It’s one of many day’s actual stand-out performances as she holds our consideration alone on stage for twenty minutes. She’s ably assisted by good path when transitioning between scenes and well-considered lighting to successfully create totally different atmospheres.
The writing goes astray a bit when discussing problems with the abroad charity Reena finds herself volunteering with hitting political difficulties, and also you do marvel what the purpose of this in the end is. But it’s on a lot stronger floor when it returns to its core theme of the that means of life and whether or not a excessive paying job and materials possessions are actually sufficient to provide us function and fulfilment.
This is an excellent efficiency with a lot to say with its writing. With a bit enhancing to maintain it on monitor it might be even higher.
Written by Reshmi Mohan
Directed by Maisie Allen
New Horizons
★★★
A household strikes again to their homeland from London after their father goes lacking. It all appears somewhat regular, besides that one of many three sisters, Nashira (Simran Oodit), is a ghost that solely they and household pal Sahil (Ahmed Aamir) can see. Sahil quickly confesses that he believes he’s cursed and the reason for the dying of these near him, having seen them taken by a ghostly determine every time.
Whilst it is a enjoyable little ghost story with an exquisite air of mystique, it does endure with its supply. Volume ranges are a bit low from the solid, and a few of the gentler moments are misplaced beneath the background noise across the theatre. It is a disgrace, however an issue that might be resolved simply sufficient.
Add in some tightening of the story, akin to what occurred to their father, which at present feels a somewhat unfastened thread, and we might be left with a chunk that might match very effectively into the London Horror Festival ought to it return later this yr. I’d definitely return to see it once more in that case.
Written by: Supravo Rahman
Directed by: Annalena Lipinski
Queer Switch
★★★
Clive and Rodger (Aymeric Etogo and Yusuf Naya) are two very totally different individuals. Rodger is, as he makes clear to us all, a person’s man, and his pronouns are completely he/him. Clive then again is queer and an individual Rodger clearly has no time for. But right here they’re, caught in an odd escape room and the one method out is to come back to a mutual understanding.
The thriller is properly constructed upon by Lilly Walker’s Seeker, who introduces us to the room, after which does some quaint physique swapping to transpose every man into the opposite’s place to allow them to higher perceive each other, in addition to permitting their darkish secrets and techniques to be revealed.
The play suffers from a scarcity of clear diction, due partly to how every actor makes an attempt to play Clive within the comfortable tones required, however go away him method too quiet. That problem apart, each deal with enjoying every position effectively, and given how totally different they’re that’s fairly the feat.
Queer Switch takes on sturdy topics in a enjoyable and fascinating method, with an ending that properly wraps all of it up. It’s a concise piece that makes good use of its run time with out ever feeling rushed.
Written by: Santiago Guerra
Directly by: Mya Onwugbonu
Strangers
★★★★
Strangers takes us by way of a yr with 4 people. Whilst their lives continuously cross paths they continue to be very a lot as strangers to at least one one other. It’s a intelligent analogy of London-living, every character all the time too busy with their very own life to actually join with others.
Meghan Mabli, Jennah Finnegan, Maria-Vittoria Albertini Petroni and Eve Wilson greater than do justice to a pointy and fast-paced script. Dialogue strikes shortly between all 4. Scenes are related by speeches given by all of them directly, sentences handed from one mouth to the subsequent, with the important moments spoken in unison. It’s all deftly held along with nice directing by Lucy Millett.
Inbetween these moments, pairs are introduced collectively, permitting us to search out out extra about their regular London lives, their goals, their worries; permitting alternatives when a connection might be made if just one or one other would make an effort. And but they persistently fail. That is, till a second of tragedy one way or the other unites all of them.
This four-hander is one other superb standout play of the day. Nell Rayner’s writing actually jogs my memory of James Lewis’ work in its research of up to date and on a regular basis lives. It takes the mundane and makes it fascinating. It significantly wouldn’t really feel misplaced on the stage on the Lion and Unicorn Theatre (for those who’re studying this David Brady – L and U’s Artistic Director – signal this one up).
Written by: Nell Rayner
Directed by: Lucy Millett
Woman. Life. Freedom.
★★★
Set across the Qatar World Cup when England confronted Iran, Woman. Life. Freedom. explores the sporting of the hijab. It was impressed by the protests that rocked Iran following the homicide of Mahsa Amini in police custody, accused of getting an “improper hijab”.
London faculty trainer Meera (Alicia Fernandes) decides to make her personal stand by eradicating the hijab she has worn for a decade, a lot to the shock of her household. This is a nuanced piece of writing that makes it clear that sporting a hijab needs to be a girl’s selection and never imposed upon her.
Fernandes holds the piece collectively effectively, giving a robust central efficiency while permitting the supporting solid area to work round her. The determination to have the daddy as a voiceover is maybe not the wisest one. The father performs an important position within the debate, but by being pre-recorded these scenes are left barely stiff in nature, with the solid needing to reply to a indifferent recording. But it’s a difficulty that might not be troublesome to resolve.
The play suits effectively inside its twenty minutes however is one other that feels ripe for improvement right into a fuller hour. This is definitely a subject that deserves to be given far more consideration.
Written by: Tarah McDermott
Directed by: Clara Janssen