A Crown of Laurels – Paradise in Augustines

Written & Directed by Ryan Hay

Composition & Musical Direction by Lavie Rabinovitz

Design by Danielle Connally

Choose your favourite sexual abuse paintings”, this is a quotation from the website Fine Art America. Wanton Theatre Co presents A Crown of Laurels, an adaptation of Apollo & Daphne, of which the attempted rape of a Greecian nymph by God Apollo is the subject.

Daphne wants to have fun; she’s been planning this evening for months now. Finally, her sisters and friends are all together and about to get leathered. The night doesn’t go to plan, separating from the group, Daphne finds herself in the arms of Olly. Daphne hopes to have found a connection she has been longing for. Olly, a handsome, middle-class white junior lawyer, has other ideas.

In terms of adaptation, it’s by the books. Little has profound development, and if you’re familiar with the original tale or Caroline Kepnes novels – you know the likely outcome. Or, so you would suspect. For the most part, the first act is pleasant, with amiable, at times compelling, vocals courtesy of Herron.

Projection is an issue within Paradise Sanctuary if you don’t have mic set-ups. Although allowing for the live band to receive the correct acoustics, it’s audibility drowns out vocals.

Aesthetically, A Crown of Laurels is stripped back – reliance is on the live band, performance elements and writing. There are however a series of glasses, drinks and cocktails sitting across the stage. In pairs, they are small reminders of the setting, a minute touch showing a working mind behind tiny details.

We suffer drawback in the character of Olly, who, while attempts are made to make him interesting, is notably flat. Hurley in no way turns out poor performance, but he’s overwhelmed by Herron who brings tighter vocals and diverse emotion.

Then it hits, like a truck laden with uncomfortable, unknown by many, truth. A serious monologue about the art world today is the real merit of this production. Faultless in execution, there’s a sense of glass-like fragility in Herron’s voice, but her command of the stage is iron. To discuss the profit made from sexual abuse, desensitisation in the arts community is noble cause we applaud. It’s an issue in discussion for theatrics circles, but less so in the arts community.

A Crown of Laurels has protentional to ripple a community with its direct approach towards the billion-dollar profit on the back of under-age ‘subjects’ and painters historic sexual abuse. With investable characterisation, projection and clearer vocals there’s a defining play here.

The Lark – Bellfield, Portobello

The Lark
Performances 4th – 8th June, 7:30pm Bellfield, Portobello
Tickets £12 advance, £15 on the door www.theegtg.com

Written by Jean Anouilh

Translation by Gill Taylor

Directed by Claire Wood

Cast to the flames, Joan of Arc, heroine of France, was a peasant girl who on the instruction of God was to lead a siege against the English, paving the way for the coronation of King Charles VII of France. Whether reality or legend, she is captured and condemned to burn. A politically motivated crime of heresy was attributed. Partially for conversing with angels, but really, her only crime was what lacked between her legs.

The Edinburgh Graduate Theatre Group are renowned for their dedication to texts other companies shy from. They find virtue in challenging their performers and crews. Their latest production brings Jean Anouilh’s play The Lark into the 21st century, translated by Gill Taylor.

Surrounding us are the rose-tinted windows of canonised saints, the cushioned soft wood of a pew replacing the raised levels of a theatre. EGTG are staging The Lark in a previous house of worship, Bellfield, Portobello an old Parish church. It’s setting does nothing but heighten the effect of the production. We are not solely reliving the memories of Joan as she is on trial – we ARE the memories. We sit in the centre of her life, the action surrounding us.

Claire Moland & Cara Doherty – Photography, Jon Davey

The fire commanded by Clara Doherty is remarkable, knowing precisely how to scorch the stage in glory of passion, malice and retribution for all women scorned by men in power. Yet, she has a softness to Joan, a relatability. She tempers her flames into a smoulder to empathise spiritually, forging a connection with the audience. Any performance alongside Doherty is immediately uplifted with such talent to play off of, Gregor McElvogue and Richard Godden at their best when kept on their toes by Doherty.

You can judge the merit of someone by the quality of their enemies. For McElvogue, Wendy Brindle and High Inquisitor Alan Patterson, wickedness never looked so appealing. Not even the church though, with its outright infection of patriarchal structure, is painted as a grand antagonist. Instead, there’s a deep, unearthed respect for Joan. None more so than McElvogue, perhaps the standout performance outside of Doherty.

Gregor McElvogue – Photography, Jon Davey

What Gill Taylor’s update achieves is levity, director Claire Wood’s spot-on ability to draw from each character capturing the text tremendously. With an American King of France, the accent at first raises an eyebrow, but no one could have carried this role better. Channelling his inner Gene Wilder, Keegan Siebken brings such a jovial nature to the performance, his otherwise lengthy conversations with Joan are transformed into scenes we crave. Her passion, brilliance and mirth counteract his gloriously pathetic cowardice sublimely.

A terrific live band set to provide a backing score which works wonderfully. Again, our setting was designed for this sort of acoustics and when paired alongside a choir upon high, even the heretics amongst us find beauty.

Kate Stephenson & Hannah Bradley – Photography, Jon Davey

In an attempt to bring Joan to the 21st century, the inclusion of popular songs adds a double-edged effect. On occasion, they are placed well, particular as a soldier’s song – an update on a tradition shanty. Or Hannah Bradley’s vocals, delicious addition to the role as the King’s mistress. It otherwise hinders the finale, Anouilh’s ending is peculiar, toying with preconceptions of Joan’s fate. The odd twist is given an EGTG spin which, while commendable push a little too much on abstract.

Smashing expectations of women six-hundred years ago, it’s certainly time for a reminder of Joan’s capabilities wouldn’t you say? The expectation of women in have altered, but the demands met by toxic masculinity are still prevalent. EGTG’s The Lark is a production to be proud of, in a location which reminds us profoundly that theatre can exist in any setting.

The Lark
Performances 4th – 8th June, 7:30pm Bellfield, Portobello
Tickets £12 advance, £15 on the door www.theegtg.com

Edinburgh Graduate Theatre Group are revitalising Joan of Arc – The Lark

Image Contribution: EGTG

The Lark
Performances 4th – 8th June, 7:30pm Bellfield, Portobello
Tickets £12 advance, £15 on the door www.theegtg.com

Edinburgh Graduate Theatre Group (EGTG) intend to capture the passion, ferocity and fires of Joan of Arc by staging their contemporary translation of Jean Anouilh’s The Lark in Bellfield, Portobello from June 4th – 8th at 19:30pm.

It is one of the world’s lengthiest wars. A peasant girl of seventeen leads an army of men into battle, claiming victory against the English, shaping France’s future. Her rise to prominence was instructed by the Lord, or was it simply her own ambition? She did not meet her end in battle, however, instead consumed by the flames of her suppressors. Unable to find her guilty of actual crimes, her patriarchal enemies found her guilty of, what else? What she was wearing.

Living through an entirely different, though no less severe war the translation from Jean Anouilh sought to inspire French identity following WWII. A contemporary translation from Gill Taylor is now receiving a Scottish Premiere looking to recapture the will and passion of Joan for a modern audience.

Image contribtuion: EGTG

Director Clare Wood states that; “Although Joan lived and died nearly 600 years ago, her story feels incredibly current”. Citing young women’s fight against the blindness of contemporary world leaders. In a society where women’s ‘behaviour’ is still called into question, Joan of Arc is perhaps the most poignant choice they could have made.

Noted for their determination to produce challenging texts, one of the city’s most respected amateur companies is reviving Joan, bringing solidity to legend. Promising a choir, playlist and house band set to inject fire into the blood, Edinburgh Graduate Theatre Group are primed to bring fifteenth-century revolution to Scotland.

Staging could not be more appropriate within Bellfield, a previous house of worship. EGTG are humbled at producing the first piece of theatre for the venue, paving the way for future productions staged in the Celebration Hall.

Image contribution: EGTG

The Lark
Performances 4th – 8th June, 7:30pm Bellfield, Portobello
Tickets £12 advance, £15 on the door www.theegtg.com