A Mid-Summer Night's Dream by C21

After the success of Romeo and Juliet in 2013, c21 brings Shakespeare’s clever comedy to the stage in the autumn.

This new adaptation, directed by Arthur Webb, and specially edited for schools and lovers of the Bard’s language, captures all the essence of love, intrigue and humour and is performed by a cast of six talented actors: Adrian Cooke, Ruth Jennings, Richard Priestly, Thomas Martin, Megan Armitage and Gerard McCabe

The play contains some strong, courtly, confused lovers, a band of good- hearted thespian workmen and some vengeful punk fairies but with the help of some love juice, an ass’s head, a wall and a lion, the domestic squabbles in the forest of Athens, are magically resolved and the play ends with celebration and marriage.

Don’t miss c21’s new and exciting ‘Dream’ production.

Touring to:

Braid Arts Centre on Monday 13th October - To book tickets click here
Antrim Grammar School on Tuesday 14th October
Riverside Theatre on Wednesday 15th October - To book tickets click here
Down Arts Centre on Friday 17th October - To book tickets click here
Methodist College on Tuesday 21st October
Baby Grand from Wednesday 22nd - Saturday 25th October - To book tickets click here

Coming Up: Flesh & Blood Women at the Grand Opera House

In what is believed to be the first-ever all-female, home-produced theatre production in the history of Northern Irish theatre, Flesh & Blood Women is about to set the Grand Opera House alight in early May, running from Wednesday 7th – Saturday 24th May.

Green Shoot promise an exhilarating night at the theatre with the production consisting of three hard hitting short plays written by Dawn Purvis, Brenda Murphy and Jo Egan.

Writing for the theatre for the first time, in her play Picking Up Worms, former Progressive Unionist Party leader Dawn Purvis tells a story from the 1970s about a child’s reflection of events on a street in Belfast during the Ulster Worker’s Strike in 1974.

Ballymurphy playwright and writer of the award-winning A Night With George, Brenda Murphy, tells the extraordinary true story of her mother having 11 children, six to a married man who lived around the corner with his own family.  In Two Sore Legs the former Republican prisoner uses her trademark Belfast humour to tell this very personal story, told from her mother’s perspective.

After last year's success as the writer/ director of Crimea Square, voted winner of the Audience Awards at the Ulster Bank Belfast Festival at Queen's, Jo Egan’s play Sweeties will tell the stunning story of two sisters with conflicting memories about a life-changing incident from their childhood. Sweeties is based on Jo’s original oral research with Belfast women.

Flesh & Blood Women is unique in that it is the first production in the history of Northern Irish theatre where everyone involved is a woman. From writers to designers, from producer to director and stage management to marketers – believe it or not – it’s never happened before. In total, nineteen women will be involved at all levels of production.

The company are especially thrilled to have acquired the services of Coronation Street actress and director, Noreen Kershaw. Noreen won a BAFTA for directing the controversial Coronation Street storyline about the rape of Carla Connor. She has also directed episodes of Shameless and Emmerdale.

The all female cast includes Kerri Quinn, Maria Connolly, Rosie McClelland and Kat Regan.

For more information and to book tickets please click here.

@classygenes

Noel Coward's Brief Encounter - Wireless Mystery Theatre: Review

One doesn't really know what to expect when attending a Wireless Mystery Theatre performance. From War of the Worlds during Belfast Children's Festival, Scream Tea in White's Tavern or A Christmas Carol in the Ulster Hall, their work is always varied and sometimes unexpected.

Last night I went to the preview of Noel Coward's Brief Encounter.  A classic of cinema, Brief Encounter is repeatedly voted the most-loved romance on screen, a tale of two lovers whose love can never be expressed.  An innocent meeting of a married man (Stephen Beggs) and a married woman (Mary Lindsay) turns into a love affair which threatens to destroy their marriages, friendships and lives.  The story starts at the end, so to speak, as Laura feels faint in the bustling train station and wishes her friend is dead because she won't stop talking.  As the jigsaw is put back together, we find out why Laura feels the way she does, just who the mystery Doctor is she was saying goodbye to and why it was all so overwhelming.

Wireless Mystery Theatre use sound to great effect in this show.   Using surround sound technology, trains rattle through the theatre, making the audience feel very much like they're right in the middle of the action. The effect of this is that we have to listen all the more intently to what is happening between the characters. For me, this just enhanced the secretive nature of the affair, feeling like I was eavesdropping on a couple and hearing their deepest desires.

Mary Lindsay is particularly suited to playing Laura Jesson.  Her face spoke a thousand words as the guilt tore her apart and she fought with her inner, barely acknowledged desires. Stephen Beggs' Dr Harvey is dashing and handsome in his suit and hat and at times a little insistent.  We never see Dr Harvey's wife and so all our thoughts are with Laura and her turmoil.

Despite some first night technical hitches, the performances induced a few tears from a couple of unnamed audience members, overwrought by the emotional difficulty of the unplanned romantic interlude and it's final goodbye. Indeed it was heard to be said how easy it would be for something like this to happen, a testament to Coward's writing engaging even the most restrained audience members with Laura's predicament.

For me, by far the most poignant part of the play is when Laura's husband Fred (Mark Claney) says 'You've been a long way away... Thank you for coming back to me'. Despite his blandness and apparent disinterest, he has noticed the whole time that Laura's mind was on something else.

Brief Encounter runs until Saturday 15th February in the Baby Grand.
Click here to book tickets.


        

REVIEW: Stand Up Man: C21 Theatre Company

Much has been made of Tim McGarry's involvement in Stand Up Man.  Being a comedian you would expect that it is Tim himself who is the Stand Up Man Thaddeus McGuinn but this role was filled by Nick Hardin.

But Thaddeus is not a funny man, well not anymore. He's over stressed, under paid and unappreciated. Well that's how he feels anyway. His wife of 26 years Maggie (Cathy Brennan-Bradley) is an alcoholic, suffering from OCD and is severely depressed.  And it's all his fault.

A sparky script from American playwright Derek Murphy hinges on Thaddeus' inability to see what is right in front of his eyes.  He has damaged his relationships with his wife and his son with his selfish behaviour and insular personality. They don't understand how much he has forfeited to save them, how important it was for him to have given Buster his name, how much Maggie should appreciate him.

Tim McGarry's portrayal of Thaddeus' alter ego, the Father McGuinn he was meant to be, is both irreverent and refreshing.  His asides in the conversation add just the right amount of lightness to lift what is a very dark comedy.  While Tim doesn't have a lot to do, his part is the most essential, balancing the darkness of the script with just enough humour to ensure the audience don't leave in tears.

Nick Hardin as Thaddeus, is spiteful and selfish as the character demands.  We never really believe that he loves Maggie.  Even as he realises what he has lost, his own self obsession demands his attention.  His need to be funny supercedes every issue, whether forgetting his wedding anniversary, going to his son's school or a death in the family.

Kevin Patrick Keenan is a bright young actor and his portrayal of Buster grew on me throughout the second half. Buster is a difficult role to play. He is both adult and child, full of hatred for his father and love for his mother. His personality is a perfect mix of Thaddeus and Maggie, having inherited all his parents worst traits.

Cathy Brennan-Bradley as Maggie is a desperate and conflicted alcoholic.  I wasn't sure whether I enjoyed this character or not. As a poor downtrodden women, a kept wife and an attention seeker I felt the underhand duplicity of her personality from the start. As we got to know Thaddeus, maybe we understood why.  But I spent the whole first half just wanting her to leave him, to punch him and to show some balls.

While it seemed the pace was a little slow at times, not in keeping with the snappy writing, the show ticked along nicely, particularly in the second half when Buster was introduced.  An interesting relationship developed between father and son and I found myself more and more engaged with Keenan's physical characterisation, his hands and the way he held himself reflecting his mood.

I found the ending perplexing. Had Thaddeus realised what he had done to his family in an effort to save them? Had he conquered his demons and atoned for his sins?  Or was it just another wallow in self pity from a failed comedian and failed husband and father?  Murphy makes a powerful comment on redemption and whether any of us really understand how the other thinks and feels.

You can watch what audience members thought about the show here http://vimeo.com/85430766 
View the Trailer here: http://youtu.be/Fsns0D5c7z4

Stand Up Man runs in the Baby Grand until Saturday 8th February and you can book tickets here
after which the show will tour various venues across NI.  More information is available here           

Romeo and Juliet

Tonight I went to see C21 Theatre Company's Romeo and Juliet at the Grand Opera House.  This is a show I last saw at the Globe Theatre and it lasted over 3 hours.  As we were in the Groundling area outdoors in the rain, my memory was that it was endlessly long and very uncomfortable.  C21 promised a shorter version aimed primarily at a secondary school audience.  The production comes in at 80 minutes which is perfect for it's audience.

First mention must go to Jolene O'Hara, a talented young actress who embodied the role of Juliet with ease.  Her delicate beauty and passionate performance was touching. The role of Juliet is a powerful one and I thought she dealt with it well. Romeo, played by Michael Lavery, was a good match for her in performance and also in passion.

The other cast members Mark Claney, Eoghan Lamb, Rachael McCabe and Dan Leith played various roles, and despite a few accent issues on occasion, all were strong.  As a whole the production enthralled the many teenagers in the audience. They sat wide eyed as the story developed and by the end a few were crying.

The show is touring to schools and thus the set and lighting was simple but effective.  The white nets of Juliet's balcony were put to good use as a symbol of innocence and virginity.  On the night of her marriage to Romeo, the lights coloured red and she was innocent no more.

Arthur Webb did a good job at directing the production.  His experience as an educator clear, his knowledge of teen minds meant that the audience's attention was not distracted.  Peppered with humorous moments, music and lots of not too passionate kissing, a teen audience will engage well.  Credit also is due for the adaptation which kept the scenes short and focussed.  A sterling presentation from C21 and great to see them in the Grand Opera House.

Click here to find out more about c21Theatre Company

Click here to book tickets for the Grand Opera House from 26 February - 2 March

Karen

http://twitter.com/classygenes

Bite sized Romeo and Juliet from c21 at the Grand Opera House

Next week I'm looking forward to seeing c21's bite sized version of Romeo and Juliet in the Baby Grand.

Sold as a turbo-charged, pared-down version of the famous romantic drama that will distill all the beauty, violence and tragedy of the original… but in less than 90 minutes.  The production has been especially adapted for schools and smaller theatre venues with the original script that has been adapted by Gary Wilson. 

Lisburn actor Michael Lavery and Belfast’s Jolene O'Hara star as the star-crossed lovers, heading up a dynamic cast bringing Shakespeare's words to exhilarating new life.  Shakespeare’s universally known language is still intact but in a more condensed and accessible form. The show will be directed by Arthur Webb who acknowledges that teachers often have a fear of teaching Shakespeare.  He promises that this new production makes the blank verse accessible and the narrative straightforward without diluting the enjoyment and sense. He finds that pupils are often more visual than auditory learners, as am I!

No longer a young upcoming company, c21 has been on the theatre scene in Northern Ireland now for 8 years.  It has established itself as a consistent and exciting player, staging a variety of productions from edgy comedy drama to pantomime.  The production is supported by Arts & Business and Burke Shipping Group.

The production opened today at the Craic in Coalisland, touring to the Grand Opera House, Riverside Theatre and Sean Hollywood Arts Centre as well as giving schools performances and workshops.

Click here to find out more about c21Theatre Company

Click here to book tickets for the Grand Opera House from 26 February - 2 March  

Pvt. Wars at the Baby Grand

Last night I went to see PVT. Wars at the Grand Opera House.  Produced by up and coming new theatre company Pintsized Productions, directed by Terry Keeley and written by James McLure, the play stars 3 of NI's best young actors - Martin McCann, Chris Robinson and Gerard McCabe.  

The 3 characters Silvio, Natwick and Gately are Vietnam veterans, scarred by their experiences both physically and mentally.  They are all voluntary admitted psychiatric patients in a veteran's hospital and while the war is barely mentioned, the experiences the men went through ensures the ghost of war is always present.

McLure is a talented playwright.  His use of comedy is measured, well placed and timed to perfection. One particular scene where Silvio tries to teach Gatley how to pick up a girl has the audience in stitches.  Despite the laughter though, our knowledge of Silvio's extreme injury ensures that there is an undercurrent of despair to this scene that only serves to highlight the characters' pain. McLure reinforces the point numerous times in the play that the men could leave anytime, but the outside world terrifies them. There doesn't seem to be a way out for them.  Even when it appears Silvio might leave, a letter comes which destroys his chances of getting away.  The hopelessness portrayed in this scene is particularly vivid.

The characters are well developed, but stereotypical.  Natwick is a privileged posh, cultured man, Silvio is a macho swaggering Italian-American and Gately an innocent country boy.  The three men however have the war and their mental problems in common.  Natwick is neurotic, suicidal but not brave enough to kill himself, Gately spends the whole play obsessively trying to fix a radio and Silvio shows clear psychotic tendencies and a fixation on flashing women. It is clear as we head to the end of the play that actually the only thing keeping these three men grounded is their uneasy friendship, despite their obvious differences. 
    
This show is a credit to the abilities of all three actors.  The hilarity of the pranks, the sex jokes and the comic misunderstandings is always underpinned by sadness and despair.  We may laugh but we never forget that these are three fragile damaged souls. 

Gerard McCabe's innocent Gately is the anchor of the play. Without him you feel the other characters could not be friends however uneasy that friendship might be.  He both begins and ends the play and his reflection on the sunrise in the last scene just adds to the anguish of the veterans' situation.  

Chris Robinson plays Natwick's depression to perfection.  He is terrified to stay in the world but equally terrified to leave it through suicide. One scene where Natwick attempts to make Silvio like him is particularly good and highlights the actors' impeccable comic timing. 

Martin McCann, who has not been on a theatre stage for 6 years, encapsulated Silvio's character precisely. Of all the characters, Silvio is the most dangerous. It can't be easy to play a psychotic character and still make the audience want to take you home and protect you!            

The play was written not long after the Vietnam war and the public were aware of the difficulties veterans' had returning to society.  Today we still have young men and women returning from service in Iraq and Afghanistan.  We still hear stories of veterans being made homeless, of high suicide rates and not enough help being available.  The stigma attached to living with a mental illness does not help and still exists today.  It's clear that the central messages of McLure's play are still relevant.  

PVT. Wars continues at the Grand Opera House until Saturday 20th October. Please go along and support this young company.  Click here to book.