Author Archives: uoblogfest

The Robert Glasper Experiment @ The Institute, Digbeth

robert glasper

The vibes at The Institute on Thursday night were as cool as the soft, blue colours that gently lit the main room. I walked in to the fresh, jazzy sounds of Mercury Prize nominee Soweto Kinch. He was a more than adequate starting act, and after displaying his reputable talents as a saxophonist, he then revealed his skills as both a written lyricist and freestyle emcee. Kinch’s slot was capped off with a jaw-dropping display of lyrical skill, in which he set himself an acrostic challenge of incorporating words that spelled D-I-G-B-E-T-H into improvised verses (the words having been shouted out by random members of the audience). From due diligence to hunger, Soweto Kinch surpassed the challenge with ease, to a hearty and well-deserved applause.

Shortly after, The Robert Glasper Experiment took to the stage, and as soon as they did, Glasper charmingly suspended all elements of pretence with a simple “Hello, how you doing?” For the most part, I truly did not know what to expect from their live performance. Prior to the gig I was mostly familiar with the group’s collaborative works (including features from Erykah Badu, Emeli Sande, and Yasiin Bey/Mos Def, to name a very select few) but huge crowd favourites such as ‘Ah Yeah’ and ‘Let It Ride’ proved to be just as powerful without their respective vocalists, and for many songs this was somewhat of a blessing in disguise, shifting the focus towards the band’s ability to play off of each other and improvise, which is essential of any show associated with jazz.

What was refreshing about the band was that, despite Glasper being their namesake, there was no true frontman of the group. Equal attention was given to Casey Benjamin (vocoder and saxophone), Mark Colenburg (drums), and Travis Burgess (bass, presumably filling in for Derrick Hodge) as well as Robert Glasper himself. In fact, the term solo was taken quite literally during the show, with other band members often leaving the stage to lend the spotlight to their fellow band members, whose showcases of instrumental skill did not disappoint. Even the vocals were at a casual volume that blended with the other instruments. However, this often meant that Benjamin’s words were drowned out by the drums, particularly during Colenburg’s heavier jams. At times this was a little bit frustrating, and I felt that perhaps the synthesised vocals that gave the Black Radio albums (Black Radio 2 in particular) such a unique touch simply could not be done justice by a live performance – or maybe the levels just needed a bit of tweaking. Either way, for the songs with more recognisable lyrics, nothing was lost in translation, as the strong crowd helped to raise the volume for The Robert Glasper Experiment’s well-known renditions of ‘Smells Like Teen Spirit’, and ‘Lovely Day’. The latter which performance entailed Benjamin’s light vocals making the perfect match for Glasper’s gentle piano chords.

Covers were certainly expected due to the aforementioned Nirvana and Bill Withers numbers, but that knowledge didn’t prepare me for their sensational performances of ‘No Church In the Wild’, and a shorter, but more polished version of Radiohead’s ‘Everything In Its Right Place’, which somehow seamlessly transitioned into a slow and emotive version of ‘Get Lucky’ (don’t ask how, but believe me, it really did).

Just when we thought the music couldn’t get any better, guest vocals from a Birmingham-born female singer added a beautiful, organic tone to their smooth, Neo soul sound, and in the closing few numbers, Glasper spoke the immortal words, “Soweto, where you at? Come spit some raps”. Mr Kinch graced the stage once again with his saxophone talents and more freestyle finesse, and the way he thrived off the musical environment around him was a genuine treat to watch.

All in all, it was a fantastic performance from an incredibly tight and talented band, and the at-times smothered vocals in no way detracted from what the gig was truly about: good, soulful music. 

by Oliver Clifford

Birdsong @ The Birmingham Rep

birdsong

In honour of the First World War centenary, The Rep recently staged Rachel Wagstaff’s adaptation of the best-selling novel Birdsong. As a fan of both the book and the BBC adaptation I was curious yet cynical about whether the tale could be successfully transferred to the stage. I couldn’t have been more wrong. 

Birdsong follows young Englishman Stephen Wraysford (George Banks), intertwining his experience of fighting in the war with flashbacks of his time in France beforehand- including his passionate love affair with his employer’s wife, Isabelle Azaire (Carolin Stoltz).

An impressive set was waiting in the gloom when the audience first filed in; a filthy trench with ladders stretching up to the implicit threat of No Man’s Land. Even now we are still shocked by the conditions they fought in, from the soldiers’ grimy uniform to the nurse’s blood stained apron. The neglected setting of the war scenes contrasted well with the elegant furniture used in the effortless flashbacks to pre-war France.

The play also tells the tale of the lesser known tunnellers, who laid mines under No Man’s land. I was doubtful of how these underground episodes could be conveyed on stage but the imaginative solution was to plunge the stage into darkness and pull forward a few short, propped-up wooden beams with dimly glowing lamps dangling from them. When the men came crawling through them on their hands and knees the illusion was complete and the claustrophobic atmosphere created on stage was stifling. 

George Banks impressed me greatly as the lead, especially given the demanding nature of his role. Wraysford was required to be almost constantly on stage and to switch between the present and past continuously. This contrasted his carefree optimism and passion before the war with his disgust and detachment during the war, showing great depth of character.

However the best performance by far was that of Peter Duncan as the working class tunneller Jack Firebrace. Despite his poorer background he is the most noble of all the men, always in good spirits and cheering the others up- despite receiving the news that his little boy has died back in England. Duncan played him with a brilliant mixture of bravado and vulnerability that made him the most likeable character and the most tragic. Jack Firebrace is the decent man that gets written out of history and the play makes you feel guilty for that.

The play’s depiction of the experience of war was extremely vivid, with the sudden shell explosions making the audience jump in their seats and the aeroplanes being made to sound as if they were directly overhead. The horror of the Battle of the Somme was also alluded to without having to attempt to re-enact it. Before they go ‘over the top’, Captain Gray quietly tells Wraysford that their bombing failed to destroy the German wire. When Wraysford asks him what to tell his men, declaring they will be slaughtered, Gray tells him not to tell them and simply hands him a pair of wire cutters. The audience already knows the catastrophic consequences of the Somme and we do not need to see it to picture it.

Despite Birdsong evoking the experience of the First World War so well, it ends with Wraysford telling the audience that we can never understand what they went through- as all the other characters join him in silence, and listen to the faint sounds of birds singing. Thus despite our current commemorations of the First World War, a century after it started, Birdsong suggests that the true horror of the war remains concealed- leaving an even more poignant impression in the modern mind.

By Ellicia Pendle
@elliciapendle

The Bridge @ The Guild of Students

the bridge

Making a film can’t be easy. Making a film really can’t be easy when you’re a student, so Cassiah Joski-Jethi’s The Bridge is a triumph for just existing. Written and directed by Joski-Jethi, co-directed and produced by Nicole Rixon and Elisha Owen respectively, and featuring a cast of almost exclusively students, The Bridge follows Lynn (Stephanie Rendall), an eighteen year-old woman whose dreams of being a dancer are interrupted by family tragedy, incompetent adults and an inescapable neighbourhood.

The most striking thing about the film was its stunning shots. Selly Oak and Edgbaston are substitutes for London, and while the landmarks are recognisable for any University of Birmingham student, the shots set up by Joski-Jethi are beautiful. Lynn’s isolation is a key part of this film, and Joski-Jethi utilises space, depth and blurring to add to this effect. The canal-side scenes are perhaps the most visually-arresting, and should make anyone who lives in Birmingham reconsider the city’s beauty. Nick Charlesworth’s original score is equally as beautiful, creating a sense of tranquillity in the troublesome world of the film.

The film is host to some good performances, and an excellent balance of the humorous and serious. The Officer (Jack Robertson) and Jane (Anna Roberts) offer some brilliant and much needed comedic relief throughout the film, while Lynn’s relationships with other characters explore connections more seriously, focusing on obligation and trust. The interactions between Lynn and Bobby (Ethan Owen), her younger brother, are particularly enjoyable to watch: the script wonderfully captures the sibling dynamic.

In her pre-screening speech, Joski-Jethi stated that she felt the film was a time capsule containing the houses her cast have lived in, buildings that no longer exist and streets that we walk down daily. This astute way of identifying the film can encompass the film as a whole: undoubtedly, when some of the cast and crew have made their names in the film or theatre industry – as the hard work and performances indicate – this film will contain their early work; perhaps one day it will gain a cult status.

Not only were the audience given an exclusive viewing of the film, we were lucky enough to watch the ‘Making of’. In a film where most of the characters are isolated, or seem to lack true friendships, it was lovely to see the cast and crew of The Bridge working together harmoniously and having fun.

Post-screening entertainment also included a performance from the recently formed a capella group the J Walkers. Their original arrangements of popular songs including Amy Winehouse’s ‘Back to Black’ and Ray Charles’s ‘Hit the Road, Jack’ were incredibly impressive and enjoyable to watch.

The evening was concluded with a sketch show set from comedy duo Jacob Lovick and Tyler Harding. The pair’s comedic timing was on point and their comradery palpable. The duo’s set was well-rehearsed, and incorporated the slight technical glitches well. Student comedy can often be quite self-referential, but Lovick and Harding’s set moved outside the university sphere, making it all the more entertaining.

What The Bridge premiere showed was an extraordinary amount of talent in the university’s community. This talent is varied, but when used effectively in a team, projects one might have thought impossible come into existence. If this is just the starting point for this group of creative individuals, I am excited to see where they go next. 

By Jenna Clake
@jennaclake

The Threepenny Opera @ The Birmingham REP

PB_1747

Before the performance began, the audience were greeted with a motley crew of cast members chanting “no ifs, no buts, no disability cuts!” in front of an, assumedly, once glamorous now tattered red show curtain thinly veiling an ensemble of musical instruments and actors milling around, preparing to perform the opera for the poor. Around the auditorium were banners spray painted with powerful messages such as ‘Keep your filthy tax out of my bedroom’ and ‘Old people are worth more than the pennies we give them!’ The rawness and unabashed nature of this introduction set the audience up to confront some uncomfortable and challenging world views, perfectly aligned with the original intentions of Brecht.

As the Musical Review aptly put it, the play was “no-holds barred”. From the adapted and highly satirised lyrics tarring ‘Tories and their minions’, paedophilic priests and Jimmy Saville with the same brush for their ‘sexual imperatives’, to the highly ironic song performed in a prison cell by Macheath (Milton Lopes) ‘Live Life in Luxury – That’s What it’s For’, the audience were presented with a vivacious performance that served its purpose in reinventing Brecht and Weill’s Threepenny Opera.

Almost every taboo imaginable was confronted in the performance, to the extent that some audience members were unsure whether to applaud or wince at the audacity of their presentation. For me, this only served to make it more enjoyable. The messages of the play were confrontationally presented by an awe inspiring cast, the majority of whom were disadvantaged – either in terms of their sight, mobility, hearing or their height. The casting was a stroke of genius; as the performance did not aim to make you feel sorry for the cast members, or empathise with them for their disadvantages; it aimed (and succeeded) to challenge and question the way our society works. It also demonstrated how extremely versatile the cast were, as the majority were not only actors and singers but also talented musicians.

Musically, the levels were sometimes a little unstable, and a few hiccups were had with the subtitles projected onto the walls, but these minor hindrances didn’t affect the overall experience to any substantial extent. 

The success of this performance was enhanced for me by the extremely talented signers, with a special mention for actress and signer Jude Mahon. During the songs, she delivered as compelling a performance as the actors singing, and was remarkable in her ability to bring several different characters’ personalities to life through sign language; undoubtedly she captured the essence of the songs for deaf audience members. Other notable performances were given by Mrs Peachum (Victoria Oruwari), Polly Peachum (CiCi Howells) and Tiger Brown (Will Kenning), a chief of police who served in the army with the notorious but oh-so-charming murderer and rapist, ‘Mack The Knife’.

All in all, if you are looking for a theatrical performance that will challenge your views and beliefs, and prompt your thoughts towards questioning the structure and hierarchy of our society as it is today once you leave the theatre, this is the play for you. Utterly fascinating.

by Hayley Yates

3Bugs Fringe Theatre present: House of America @ The Guild of Students

house of america

Ah, the eighties. What a glorious time of nihilism, high-waisted jeans and no work. The lack of hope that characterises the eighties is what you get in bounds in Ed Thomas’s House of America. What you also get is three under-thirties struggling to escape from the Welsh valleys, or, more pointedly, the house they grew up in and their mentally fragile mother. Mrs Lewis, Boyo, Gwenny and Sid are living on top of one another, with the threat of the cast mines looming over their simple lives and their secrets adding to their claustrophobia. To attempt to escape, Gwenny and Sid dream of travelling to America, seeing their estranged father, and being like Joyce and Jack from On the Road, while Boyo remains reluctant.

While Thomas’s play conveys an overwhelming sense of hopelessness well, it is flawed in places. The cast mines initially work as an effective metaphor for the threat of modernity and the secrets that will tear the family apart, but the constant repetitions of ‘They’re coming closer,’ and ‘They’ll destroy this house,’ undermine it, making the play quite expositional. In fact, exposition is one of the major flaws of the script: the audience is often on the cusp of figuring something out (usually due to some excellent facial expressions or body language) but is denied the privilege through speech.

However, flaws with the text aside, this production was raw, chilling and uncomfortable to watch: the things I like best about theatre. Director Tamar Williams utilised the small space of the dance studio brilliantly, and the actors’ breaking of the fourth wall added to the play’s theme of suffocation. Williams’s interpretation was also brave in that it allowed the audience to become aware of the play’s theatricality subtly: the moving and banging of chairs to suggest a temporal or spatial shift was an excellent decision, with the sounds echoing the intrusive industrialism.

 Another triumph of this production was the inclusion of music (provided by a band led by Musical Director Nick Charlesworth). While the band could play rock and roll classics with ease, the real treat was the improvised traditional Welsh music, and the beautiful singing that often accompanied it.

 This play deals with a variety of issues, including two murders, mental illness and incest; this is a script that asks for a lot from its actors. The onstage chemistry and tension between Lily Blacksell and Jack Alexander was palpable, and I wish that the script would have allowed more space for this. Blacksell and Alexander could communicate their emotions through a series of subtle facial expressions, and their interactions were incredibly convincing (and therefore very difficult to watch).

Blacksell’s final monologue was the highlight of the play: sensitively interpreted, she captured the misfortune of Gwenny’s situation – one that is entirely beyond her control – to make her a tragic, although not sympathetic, character. Blacksell was able to move Gwenny from a girlish, daydreaming woman who wants to be like Joyce Johnson to a severely ill and troubled person.

 Jack Alexander was also able to capture Sid’s daydreaming personality well: his panic during his final scenes was intense. Alternatively, Jacob Lovick and Mary Davies were at their best when providing dark humour. Lovick’s comedic timing was consistently on point, while Davies was excellent at providing Mrs Lewis’s unwitting comedy.

 During its first act, I wasn’t really sure where House of America was heading. However, its second act provided the punches I was looking for. The play perhaps tries to throw a few too many, if I’m being honest: the truth about Clem Lewis or the incestuous relationship would provide sufficient drama for one play. However, Davies’s production is sensitively directed, imaginatively realised, host to some good performances, and contains some excellent live music, making this a play I am glad I haven’t missed. 

by Jenna Clake

Apples & Snakes Present: Lit Fuse @ Birmingham mac

LitFuse-full

“I want a man who pulls kindness out of his back pocket.” This was the beautiful and intriguing opening line of spoken-word artist, Nafeesa Hamid, during her performance on Friday night.

Nafeesa spent last week working alongside three other brilliant artists, Amerah Saleh, Carl Sealeaf and Sipho Eric Dube, making up the quartet of poets that brought Lit Fuse, a spoken-word collaboration, to the Birmingham mac on the 7th March 2014. This event, developed jointly by mac Birmingham and Apples and Snakes poetry collective, is a series of events showcasing brand new work devised by UK poets in collaboration with top directors and producers, encouraging poets to write and perform outside of their comfort zone. This set of poets were working with the help of Birmingham-based writer and director, Caroline Horton.

The four poems were part of the current season of work at the mac, ‘Exit Strategy’, a theme exploring death and its effects.
The event combined poetry and theatre, using lights, sound effects and short films to create atmosphere and background for the spoken word pieces. The performance began with all four poets speaking at once, moving from various areas of the intimate space of the Hexagon Theatre, before gathering together on stage. The effect of the clashing of lines and styles, and interrupting of each other made for a disconcerting and slightly wild beginning, and I struggled to make out what each individual was saying, let alone find any kind of meaning in the cacophony of noise and sound effects. Indeed, as each poet left the stage and then returned one by one, performing an individual 10-20 minute monologue, the level of intensity remained high, due to the heavy and sometimes controversial content, and the fact that the overall performance was only just over an hour in length.

Although four very different poets, all creating various interpretations of the topic of death, the pieces were beautifully crafted to fit perfectly together, moving seamlessly from one to another. The themes ranged from a heartbreaking monologue by Carl Sealeaf on the breakup of previous relationships and the death of a loved one, to a touching and intimate insight into a story of childhood, heritage and loss from Sipho, and an uncomfortable but beautifully important piece on rape in marriage from Amerah Saleh.

The influence of theatre was reflected differently in each piece, some of the poets choosing to use props. At the beginning of Amerah’s piece (written largely using stories collected from girls with real experience of rape in marriage), all the props, including a desk lamp (left over from Carl’s piece moments before), a mop bucket and a mug were turned on their side, and set right way up as the poem progressed. Using everyday objects reinforced the setting of a domestic home, and the act of setting them right reflected the healing process that took place throughout the poem.

The performance ended in the same way it had begun- all four poets speaking at once, and moving together to gather on the stage under dim lighting. This time however, the words and phrases they were saying had a poignant clarity – now I recognised them as lines from each of their poems. The idea that all these pieces shared the same subject matter, yet had wildly different interpretations of it was reinforced by the clashing and uncomfortable jarring of these lines, yet combined, at the end, a subtle and carefully crafted shared understanding and acceptance.

 by Alice Cudmore

Infinity Stage Company Presents: In Arabia We’d All Be Kings @ The Guild of Students

In Arabia

I’ve seen Stephen Adly Guirgus’s The Last Days of Judas Iscariot (and loved it) so I was intrigued to see what his earlier work, In Arabia We’d All be Kings would be like. What is evident is that Guirgis is a writer who loves character: plot falls to the side so that his characters can take centre stage. The most dramatic events are only reported to the audience; the human condition is what this playwright is bothered about.

Arabia follows a group of people in downtown New York. There is no space for them: there’s little to no work, no welfare for the poor or troubled, and certainly no sense of loyalty. Guirgus provides a gritty depiction of a nineties dog-eat-dog New York, in which drugs and sex are a form of escapism, but are simultaneously the very things trapping the characters. Every character seems to be in a Catch-22: to be happy, you need money, but to get money, you need to do some horrific things; prostitution and drug addiction are rife among Guirgus’s characters.

What is interesting about the script is that it allows a range of emotions from the audience. There are moments that are evidently meant to be comical, and ones that are serious, but then there are moments in which the audience’s intended reaction is ambiguous: moments that I found harrowing, in which I pitied the characters, where moments that others found humorous.

Perhaps this is a testament to the cast: perhaps some members of the audience were driven to uncomfortable laughter. Whatever the reason, it can’t be argued that directors Jack Fairley and Andy Baker found a stellar cast for their production (who all mastered the New York accent). Gurguis’s plays don’t really have ‘main characters’, so each actor has to work particularly hard to impress during their scene.

Guirgus is obviously a fan of having someone onstage at all times – Judas is constantly present in The Last Days of Judas Iscariot­ – at it is incredibly impressive to be in character for so long; compliments must therefore go to Ben Firth. He played Sammy, an aged alcoholic and possible drug addict, incredibly well, providing humour and poignancy with skill.

Danny Hetherington was an excellent choice for Skank: his movements and mannerisms were convincing, and his manic laughter in the penultimate scene of the play was unsettling. Guild Drama newcomer Nathan Hawthorne played Lenny, a man recently released from prison. He deftly handled his character’s anger, but was also able to convincingly communicate his vulnerability. Ben Norris gave an impressive and sensitive performance as Greer. When playing a homosexual man, it would be easy to offer a clichéd portrayal. Norris, however, dealt with this carefully, making Greer a man that would exaggerate parts of his personality to exploit others. The scenes between Norris and Hetherington were particularly sad to watch.

For a play with a mainly male cast, the women really stole the show. My favourite character was Chickie, and this is a testament to Phoebe Brown’s acting prowess. I truly believed that she was a drug addict, from her nervous movements to her child-like, heart-breaking optimism at thought of being free from her addiction. My two favourite scenes involved Brown: firstly, the interaction between Chickie and Charlie, the bartender (played fantastically by Calum Fraser), was touching and strangely romantic. Her later scene with Demaris (played by Charis Jardam), a no-nonsense teenager old was particularly poignant: here we were given a tragic glimpse into the women’s hope for a better future. Jardam’s attitude and delivery were perfect for her character, making this scene the standout of the play.

The production team of the play had evidently worked hard to create an authentic atmosphere for the play: the genuine bar helped to create a sense of verisimilitude, but it was really the costume that stood out. The women’s outfits and make-up would have been particularly nostalgic for several women in the audience, which made the play even more uncomfortable to watch.

While Arabia seems to lack something that Judas has – perhaps an emotionally devastating monologue – it is still nothing short of an entertaining and thought-provoking play; however, it is the work of this particular cast and crew that held this production together, and made it undoubtedly successful. 

By Jenna Clake
@jennaclake

GMTG presents: The Comedian @ The Guild of Students

the comedian

You’d be forgiven for thinking that GMTG’s most recent musical, The Comedian, was a light-hearted comedy. It was definitely funny but didn’t deliver the happy ending the audience were expecting.

The play tells the story of Tim Adams, played by Matt McConnell: an awkward stand-up comedian who we meet on the edge of his ‘big break’ and follow as he struggles to deal with the pressure of his new-found fame. McConnell is a likeable lead who wins us over with his hilarious childhood anecdotes as he delivers a stand-up routine directly to the audience. Although a somewhat nervous singer at the start, this made him incredibly endearing and was shattered by his later solos which were angry, anguished and powerful.

Tim’s big break comes when he is offered the chance to host a panel show, the wittily titled ‘News Flush’. These episodes were the highlight of the musical for me as the audience are invited to play the role of a live audience, cheering and clapping along with the sparring between the panel show’s guests. However Tim’s inability to get a word in edge-ways results in him being panned by critics and he resorts to cocaine to boost his confidence. Whilst his drug-fuelled comeback wins the respect of the panel and the critics, he loses the love of his doting fiancée Hannah- played by Megan Probert.

Probert is a talented singer and the heart-breaking solo in which she realises she no longer recognises the man she loves in Tim gave me shivers. However the stand out role for me was that of Tim’s manager, ‘best friend’ and eventual drug dealer Ollie, played brilliantly by Ciaran Cresswell. Smarmy, suave and self-assured, I hated him and admired him in equal measure. Tim is as under Ollie’s influence as the audience are and, with Ollie’s encouragement, continues taking cocaine.

What follows are Tim’s more and more tragic attempts to win Hannah back whilst he spirals into addiction, leading to an unexpectedly disturbing ending. His quest for critical success causes him to lose everything and left me thinking about the way we constantly strive for more without realising what we have already.

What amazed me most of all, however, was that the script and music was written completely from scratch by Leo West and Josh Sood. The play was well written and the songs in particular were so catchy that you couldn’t believe they were original. At times the play even seemed to mock the emotional aspect of musicals, such as when Tim wanders on stage for a moving solo and is so upset that after several attempts to start singing he gives up and leaves. Although the anti-climax made the audience laugh, it was also very touching.

Overall it was this ability to intertwine comedy and tragedy, often in a single line or song, which I found most impressive about this musical- I never knew whether to laugh or cry.

By Ellicia Pendle

@elliciapendle

Moon On A Rainbow Shawl @ The Birmingham Rep Theatre

moon on a rainbow shawlSynchronised to the pace of a calypso beat, Moon on a Rainbow Shawl follows the lives of a poverty-stricken family living in the bustling yards of Trinidad, after the war. Considering such a premise, what I did not expect was the cripplingly humorous moments, the innovative, and at times the sheer power of the performances that were created.

We follow Sophie Adam’s daily struggles of working low paid jobs, keeping up her house, arguing with the prostitute Mavis who lives nearby, taking care of her daughter Esther and her little boy, and moralising her husband. Alongside this her neighbour Ephraim, who is having a secret relationship with the attractive Rosa, has a burning passion to leave Trinidad, and have a better life in England. Without spoiling much more of the play, this re-staging of one of Errol John’s most famous plays still remains fresh and relevant today.

With its unique brand of Creolian banter, and tongue in cheek humour the play is greatly entertaining. The most memorable of these moments are definitely between Mrs Adams and the prostitute Mavis, who are always at ends with each other. With Mavis’ distinctly high screechy voice, and elaborate gestures her role as the comical marker was key to the overall atmosphere of the performance.

But with this great humour, there is the despair. It is a powerful study of the effects of poverty on men and women, the effects of money, and more so the lack of it. And with Ephraim’s wishes, we are all reminded of, to use the well known phrase, the ‘American Dream’.  Quite appropriately Ephraim’s desires to go to England for a better life for himself, are still relevant 56 years later when they were conceived. One just has to pick up a newspaper, or overhear debates to catch a glimpse of the attitudes towards immigration in England at the moment. Yet still England remains the place where, somehow and in some way, dreams for young men and women will come true.

With the mesmerising performances from the cast due to the stellar material they have, Moon on a Rainbow Shawl is compelling, and well worth 3/4 hours of your time. And it leaves us with a greater message, something which the play exemplifies: only in poverty can one find humour in despair.

By Shantok Jetha 

Infinity Stage Company Presents: ‘In Arabia We’d All Be Kings’ by Stephen Adly Guirgus

Stephen Adly Guirgus’s first play follows the patrons of a seedy pre-Giuliani Times Square bar in downtown New York (Hell’s Kitchen) and their struggle to cope with the changing climate of the city as the streets are cleaned up under Rudy Guiliani’s regime. Lenny is a recently released ex-con struggling to hold on to his ‘badman’ image and reputation while his girlfriend, Daisy, craves a “real” life with a “real” man and abandons him at the bar in pursuit of some cheap Chinese takeout. Also at the bar is Skank, a failed actor turned junkie, who is trying to outlast the rain storm and get a buyback from the missing Irish bartender. A permanent fixture at the bar is Sammy, an old, dying guilt-ridden drunk who exists somewhere between reality and the afterlife. Demaris, a seventeen-year-old gun-brandishing single mother, wants to learn to turn tricks. She enlists the aid of Chickie, Skank’s girlfriend, a young crackhead hooker who plays cards with the simple-minded day bartender Charlie. The owner of the bar is Jake. The place was his father’s before him, and after thirty years, he longs for the chance to get out of the sewer and reinvent a life in Florida. Unaware that their last piece of home is about to be pulled out from under them, the bar patrons struggle on. Their sense of humour, their misguided hopes and dreams, and their lack of self-pity are badges that are tattooed to their souls. They will all, before the end, demand and take the chance to face head on their complicated and sad truths.

In Arabia

Cast:

Lenny – Nathan Hawthorne

Daisy – Emily Howard

Skank – Danny Hetherington

Sammy – Ben Firth

Miss Reyes – Emma Marchant

Demaris – Charis Jardim

Jake – Dan Burke

Chickie – Phoebe Brown

Charlie/Holy Roller – Calum Fraser

Greer – Ben Norris

Vic/Carroll – Nick Williams

Crew

Directors – Jack Fairley and Andy Baker

Producer – Rebekah Lucking

Assistant Producer – Katherine Grayson

DATES: (all performances begin at 19:30)

Friday 7th March /Saturday 8th March/ Sunday 9th March

TICKETS:

Members – £4

Concessions -£5

Adult – £7