I write articles on current affairs, for EMMA (Ethical Multicultural Media Academy), as well as press releases and articles for MeWe Theatre Company and, reviews for The National Theatre.
Reviews
Two-Headed
(Rose Theatre)
"The Observer"(The National Theatre)
This Is A Chair
(Etcetera Theatre)
In the heart of Camden Town, one of the most socially vibrant areas of London, lies the most intimate of venues. How ironic, that on my first trip to the Etcetera Theatre, I happen to be watching a play, that prods, provokes and portrays the most awkward and animated situations, that arise out of miscommunication."This Is a Chair" is an intelligent, sharp and enjoyable observation of human interaction, at its most humorous, and heart breaking.Structured in a less than conventional way, the production features a number of scenes, told more than once, but in a totally different format and attitude, with every cycle. But rather than being bored, instead, you cannot help but be fascinated by how the subtle changes in position, portrayal and role reversal, modify the slant in angles from which you observe.The tight knit cast members manage to achieve the difficult skill of being normal everyday people, rather than trying to impersonate what is perceived to be so.This increases the audience's empathy and understanding of the characters, also the momentary interaction with the crowd, brings added warmth and smiles to proceedings.The sound and lighting in this production are very minimal, but extremely effective. All singing all dancing scene changes would have ruined the poignance of this piece. Thankfully, a gentle injection of eerie background noise and carefully placed light dimming is used to good effect. During the more personal scenes, intentionally extended periods of silence are most powerful. On the other hand, quick fire verbal exchanges are irrational in such a way, that they make the conversations more real and believable, more natural and less scripted. Along with the super cool and super spooky use of CCTV imagery, projected captions keep you keep you thinking, and add edge to the quirky story.The stage was small, a canvas, plain and dark, the script was the inspiration, and the actors, were the brushes that painted a mundane topic into a uniquely toned message, touching and relevant to all.17/08/09Vernon Nxumalo
When I entered the Rose theatre studio, I was not only walking towards my seat, but stepping straight into 1850's, mid-west America.The sound of a soft acoustic guitar playing a solum tune from that era greeted my ears, while my eyes were alerted to the two characters already sprawled across the authentic barn yard set. Luckily I had not arrived late, instead, the cast were already in character, and though silent, their body language and facial expressions gave you an instant inclination of their respective personalities.Before the theatre doors had closed, the scene was set. The stage decoration served only as a platform, from which the expressive writing and performances captured your imagination.Julia Jensen's play focuses on 'the friendship of two Mormon women whose lives are shadowed by the dark events of their childhood.' The actual production more than mirrors it's description.As the lights go up, 'Hettie' and 'Lavinia' playfully partake in what seems to be trivial girl talk between two young friends. But, these apparently trivial conversations, expand in length and increase in seriousness and emotional significance, as the story unfolds.The pace and mood changes as tragedy, heartbreak, war and social issues such as polygamy take their toll on the women's relationship, as well as shaping their attitudes to life and each other, as they age.'Lavinia' (played by Noor Lawson), is a the more mature of the two friends. Her mild salaciousness is enhanced by her superior confidence and intelligence. These traits make her the dominant force in the friendship. Meanwhile 'Hettie' (played by Liz McMullen), is an impressionable young girl, easily led and, at moments gullible. She looks up to her friend.Lawson and McMullen allow themselves to be consumed by their characters, before portraying them with effortless effervescence, that leaves you feeling like you are watching a moment in history, rather than a present day re-enacment. The enormous monologues are woven in between slick exchanges, as the ever changing pace and mood of the dialogue, keep you mesmerised. Moments of awkwardness, pain and confusion are magnified with deafening moments of silence, while angry scenes and delivered with frighteningly real passion and aggression.As the tale progresses and matures, so do the characters along with it. Jenson's thoughtful writing allows the story to become more and more complex without causing confusion. The journey from children to adults, is seamless but neatly noticeable in the personal growth, expressed with subtle changes in costume, as well as mannerisms. The changes in lighting also help to signify the evolving ages of the characters. Two-Heeaded seems to be a very niche story, but in fact, transcends generations and cultures with it's universally touching and thought provoking subject matter.(08/07/09)By Vernon Nxumalo
The intimate box layout of the Cottesloe Theatre lets you feel like you can wrap your arms around the stage. Those in the higher tiers of the auditorium would have imagined they were peering through the window of a dolls house, alive with emotion, conflict and passion. Matt Charman's story of moral conflict, focus's on the inner battle of an international election observer, who finds herself in a position to perhaps, influence an election. Anna Chancellor, who plays the embattled observer, "Fiona Russell", walks the fine line between, freedom fighting saint, and ignorant meddler, in such consumed fashion, that it keeps the audience's interest in her journey, ticking over.Her translator "Daniel", also serves well, as her morel reflection and friend. Chuck Iwuji's innocent, but strong and dignified portrayal makes the sexual tension between the two characters, believable and sweet, although any possible romance forms only a small part of this far reaching script.The scene changes are swift, faced paced and minimal, never allowing viewers to loose concentration. While the writing, is extremely clever, but never over complicated, and the serious tone of the play is neatly laced with intelligent humour for all to appreciate. The comedic moments are delivered in the main by the depressingly funny "Saunders", (James Fleet) and, in particular, the devilishly crass BBC reporter, Declan, (played by Lloyd Hutchinson). Cyril Nri provides the required embodiment of the villain, when playing "General Okute", with measured doses of darkness and ruthlessness.As the situation progresses, good intentions steer towards obsession, and with a flurry of supporting characters joining the struggle for peace, a big finish is inevitable. Through out the story, questions of Fiona's agenda, from friends and foe's, increase in volume as the plot deepens. Unfortunately as the climax edges closer, the expected crescendo fails to materialise, instead ending with a murmur, that leaves you in need of closure. Be not mistaken, the ending is tidy, however, it desperately lacks the finish, that such a good build up deserves.A compelling drama none the less.(08/08/09)By Vernon Nxumalo
www.vknonline.co.uk
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