Preview: Dead Good – The Studio

Dead Good is set to open in Edinburgh on February 13th at The Studio, Festival Theatre. Playing for two nights at 19.30pm before touring further. Tickets can be found at:https://www.capitaltheatres.com/whats-on/dead-good

Abstracts and quotations taken from syndicated interview by Diane Parkes

Death is just around the corner, so why not go in style? Or at the very least, throw a few punches first. Despite the inevitability, we never discuss death – who can blame us? Vamos Theatre, however, envisions Dead Good as an accessible way of prying open the door to open discussion.

We start our story at the end of theirs; told that they are dying, Bob and Bernard embark on one last grand adventure, living every ounce of time they have left to the fullest. The two men come to realise the values of life, love and wealth friendship can offer. Marrying tragedy with the mask of comedy, writer & artistic director Rachael Savage wants: “to demystify death and take the fear out of it” while incorporating a thirst for life and appreciation of humour. 

There is one thing our attitudes towards mortality can be truly harvested for – laughs. It’s a fact that artistic producers are capable of finding the fun in funeral, Savage seeking to entertain as much as she wishes to leave audiences with discussion as well as memories;

“I think people expect to go away from one of our shows having laughed and cried and with something to think about” 

In collaboration with palliative care patients and specialists, Dead Good continues Vamos Theatre’s dedication to creating theatre encompassing under-represented groups, Savage stating:

I give people a voice who often don’t have one, so our shows have to be about things that I am passionate about and that I want to make people think differently about.

As part of their research, for 18 months, Vamos Theatre gained first-hand experiences and opinions on the subject of mortality, and the attitudes surrounding this to capture authenticity. Further, the buzz and determination behind the production secure an understanding that those behind Dead Good have created the piece with solid intentions.

Due to the production’s nature of mask use, the communication method of the show welcomes anyone, being fully accessible to deaf audiences without a signer.

Aron De Casmaker, a Canadian clown performer who honed his skills with Cirque du Soleil plays Bob. Ringing the delicate matter of death to the nation, and is certainly one to catch for its two-night stay in Edinburgh. De Casmaker reinforcing his interest and passion for the project;

I’m really excited about this project. The idea of finding the lightness in dark material really attracts me to the theatre and in this show we are hitting a very realistic view of death head-on and then finding the joy and the lightness that comes from that

Set to deliver on tears of laughter, and a few shed out of inspiration, Dead Good has received positive coverage for its tackling of a hushed subject, with Tammy Gooding of BBC Hereford & Worchester awarding the production five stars, advising audiences to bring tissues.

Dead Good opens at The Festival Theatre – The Studio on February 13th at 19.30pm. Tickets are available from: https://www.capitaltheatres.com/whats-on/dead-good

Full touring dates can be found at Vamos Theatre at: https://www.vamostheatre.co.uk/shows/show/dead-good#diary

Heroine – Traverse Theatre

Writer: Mary Jane Wells

Director: Susan Worsfold

At the heart of this production, a prime example of raw, honest theatre, is the life story of Danna Davis. Adapted in a brutal, purposeful way, Heroine hasn’t been crafted by writer and performer Mary Jane Wells as a sob story, nor a hate piece – it’s a profound amalgam of anger, outrage, fragility and survival.

Five stools, five spotlights – one story. Danna Davis, a woman serving in the United States military who must work, live and survive among those who have sexually assaulted her; those who threaten her life, and the lives of those she loves every day. More than this, it’s a story for anyone in the room, those at home and both Wells and Davis, ensuring silence is no longer an associate of perpetrators.

Written in a variety of fashions, Well’s production combines metaphorical lyricism with gritty, literal expression to demonstrate both the innate power of the human condition, as well as the fragility we all share. Rather than an extensive discussion of the sexual assault Davis experienced, a contained segment is all which is required, a lacerating depiction of the event, hushing what feels like the world for a few minutes as Well’s dedication and respect for the role speaks volumes. Cast in George Tarbuck’s lighting design, it’s a harrowing piece of beautiful theatre design, even as it uncovers the degeneracy and retaliation within our armed forces.

An assault on the senses, Matt Padden’s effective sound design is disorientating at times, though this is inherently the idea behind such design. Loud, invasive and immediate, the stark change of everyday noises into PTSD situations triggers the transformation which pushes Heroine beyond observational. It’s sensory theatre, quite possibly one of the few shows which would work equally as a radio or audio drama.

Remarkably personal, Well’s writing captures (we suspect) as close an account of Davis’ experience as possible. In a haunting way, it’s a beautifully written production – distressingly lyrical, wrapping such vile, grim reality in a vexing garb which, despite its subject matter, is funny, touching, engaging and in some morbid sense – comforting. Well’s performance conveys the process of grief, just as equally as the process of aggression and forgiveness, and in tandem with Susan Worsfold’s wonderfully simplistic, yet effective direction builds rapport with the audience quickly.

Perhaps a result of the heightened emotional nexus, Heroine finds itself an overflow of intense moments. Never detracting from the message, structurally it causes halts and wobbles in a production which otherwise is a pinnacle of honesty. With how rooted Well’s writing is in the life of another, and the experiences of so many, there’s little wonder that emotion bubbles over, occasionally taking Wells out of her role as Davis, throwing her off.

The fact we sit in 2020, with powerful productions such as Well’s still a necessity to offer a release, opening dialogue for those experiencing sexual assault and retaliation while serving in the armed forces, is beyond explanation, but it’s a story we need to hear. A story we must preserve, ensuring that for as long as sexual assaults within any workplace, especially those who defend our nations, continues, that there remain a stark reminder and avenue of exploration for all.

Review originally published for Reviewshub: https://www.thereviewshub.com/heroine-traverse-theatre-edinburgh/

Photo Credit: Greg Macvean

SIX – Festival Theatre

Written by Toby Marlow & Lucy Moss

Directed by Lucy Moss & Jamie Armitage

History is widely written by men; no wonder we didn’t pay attention in school. Unless you have had the misfortune of a beheading or being pushed into a nunnery by your gout-suffering brut of a husband, Six is the concert musical sensation which rules the Edinburgh Festival Fringe, stormed the Westend and conquered Broadway. They may have been divorced, beheaded and died, but on stage, they thrive. 

A testament to the colossal power of a lucrative, stimulating idea and the influence of the Festival Fringe, Six descends on high to mingle with the common folk. This regal return for the wives of Henry VIII reminds us all that behind the man were six efficacious, prominent and notably individual women. All of whom deserve a damn-site more praise and attention than their historical footnotes.

Of course, the real question is: “who’s your favourite”? Which Queen deserves to lead the band, own her crown and step out from Henry’s broad shadow? Should it be the seductress Anne Boleyn; the woman who would give birth to Queen Elizabeth I? Or maybe, the Spanish mother, the O.G, Catherine of Aragon is the royal of your heart? Or could it just be those other women, the ones whose names sit on the edge of your tongue? Six has a primary concert premise, a seventy-five-minute run-time, but vivacious talent, legions of fans and a cast of undeniably skilled women befitting their crowns.  

So, roll up your Green Sleeves lords and ladies of the court, it’s a right royal rumble, for now at least. From the scintillating imagination of Toby Marlow and Lucy Moss, Six pounds with a heart of musical theatre, but with the blood and teeth of a gig. Both Marlow and Mosses’ lyrical ability gifts the audience with ten unique numbers full of a rainbow of hilarity, affection, cattiness and fury. The vocals of the team, consisting of Lauren Drew, Maddison Bulleyment, Lauren Byrne, Shekinah McFarlane, Jodie Steele and Athena Collins has an intense, diverse range of tone, purpose and delivery.

There are raps, power ballads and break-out those glowsticks folks – we have club-house beats. It is though, Steele’s number ‘All You Wanna Do’ which has a lyricism and choreography that delves swiftly from raunchy into depraved, tormenting and a piece of artistic expression which holds context across centuries. In reverse, Haus of Holbein and Get Down shatter the glass ceiling, shake the Festival theatre and propel the audience into bursts of energetic movements, courtesy of McFarlane who channels enviable energy, a lust for life and pizazz which carries us into the shows second half.

In transitioning to the stage, minor adjustments have been taken to provide a sense of theatricality for the touring production. For those familiar with the Queen’s Fringe performances, the changes make a welcome addition, though in moments the crowns need a little polish. Chiefly, communicating pathos to the audience, emotion ramped up from a natural state, where the lyrics and vocals are equally capable of conveying the destructive abuse of histories obsession with sexualising these women.

Blasting concerns of the production occupying the venue space, Emma Bailey’s set design maintains its structure from previous years – evidence to how well-thought the original construction was. Playfully, the lighting design transforms concert dynamics, spotlights make the obvious appearance, but it is the neon, the bulb-lights and manner in which Tim Deiling’s lighting design knows precisely what temperature and shading will contrast, or indeed complement each number which heightens the show.

Before we go, before you even think we’re done; let’s mention Gabriella Slade’s costumes. Sharp stitching houses the essence of characterisation in glorious shades of attitude. It wouldn’t be a show about Queen’s, had their gowns not slain quite as mercilessly as their husband. Nor would they be anywhere without their ladies in waiting; Arlene McNaught, Vanessa Domonique, Frankie South and Kat Bax on instrumentals, McNaught also providing musical direction.

Lucy Moss & Toby Marlow have given a voice to the past, a voice which in-turn speaks for the future. Placing these icons of history in the spotlight, Six is more than a concert history lesson, it has a vaster depth than a feminist musical; Six is an example of the trials of passion, a coming together in the name of rejoice, not revenge and vitally, is a show worth losing your head over.

SIX runs at teh Festival theatre until February 9th. Tickets available from: https://www.capitaltheatres.com/whats-on/six-the-musical

Photo Credit: Johan Persson