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Month: February 2020

Review: a little space at HOME Theatre

Written by Mia Edwards on . Posted in Arts and Culture, Reviews.

Written by Ciara Ewing

A big space. A small space. Your space. Safe. Mind the Gap immersed the audience into a world to escape to or escape from, this was the question.’A little space’ is directed by Helen Baggett. Mind the Gap’s Chalri Ward and Karen Bartholomew team up with Gecko devising performer Dan Watson and others to produce this show. An enchanting, moving and emotional production. Entering the theatre, the
audience were fully immersed into this exciting and strange world. Actors were already going about their duties onstage, adjusting props and reacting to each other’s actions. The play follows the story of snapshot moments of stories taking place in a small space: an
apartment to be more precise. This production from Mind the Gap excited, confused and enchanted the audience with its physical theatre. Although the actors did not execute the movement in sync, they did so individualistically and hence this gave it a personal touch. Absence Breath was a common feature used by the actors to portray emotion.

The dialogue and plot were unveiled through the constant soundtrack played throughout the production. Mark Melville the sound designer was in many ways the director of the piece, as the music created the emotion felt in the audience. Sound acted as the words that the actors did not speak. It left the show open to interpretation which is where the magiclies. The voiceovers combined with sound effects and instrumental background made for an exhilarating and captivating performance. The set was beautifully designed, with single lamps and hidden doors on the floor. Chris Swain, the lighting designer, used light thematically to show the theme of isolation. It highlighted the absence of human touch and transported the audience into the small space.

I left the theatre with so many questions and unfulfilled answers. The precise narrative and plot throughout was unclear, however one thing that was apparent was that this devised physical theatre piece followed the lives of five people and explored what happens when
they connect and disconnect from each other. This production held a mirror up to society’s flaws and hidden secrets. It was poignant, beautiful and confusing. Mind the Gap theatre company is one to watch, so look out for upcoming work that is both moving and touching.

Review: Fatoumata at Band on the Wall

Written by Mia Edwards on . Posted in Music, Reviews.

Written by Ben Read: Playlist Editor

Last Friday I was fortunate enough to catch Fatoumata at Band on The Wall in Manchester.

The fact that I could watch a Malian-parented, Ivorian-raised, French and Wassalou-speaking artist in Manchester highlights an ever growing connectivity in our globalised world. Fatoumata brought a microcosm of her own culture, experiences and heritage to a fortunate crowd. I shall forever count it as one of my most cherished musical experiences.

Fatoumata and band played through their impressive discography, showcasing both released and unreleased music. The joyous Nterini was most impressive, however Timbuktu Fasso brought the crowd into near enough frenzy. Bonya showcased the afro beat style which enriches every aspect of the performance. Each song was different; in rhythm, in inspiration and style. But all were performed to the highest level of showmanship and sophistication.

I had first caught glimpses of Fatoumata on her Colour’s Show; a succinct and honest showcase of her raw artistry. Yet I would critique the Colours format slightly, they forget the band. Whilst I have utmost praise for Fatoumata, she and her band are one and the same, their brilliance is holistic. Woodstock-esque guitar solos, military precision drumming, grooving bass lines and rhythmic, funky keyboard-playing all complimented the energetic, ethereal performance of Fatoumata.

Perhaps most impressive though, was Diawara herself. Her performance was exuberant, flamboyant and grandiose, and still somehow completely effortless. Her smiles (and an honourable mention to the ceaseless grin of the guitarist) penetrated into the crowd and spread like wildfire. I felt as if I was at some kind of family bacchanal; wild and raucous, yes, but simultaneously virtuous and controlled. The crowd was alive with the energy emanating from the stage, one could dance with anyone else, feeling as if in the presence of some great leader or religious figure. It is too easy to become lost describing the ambiance of the night, a mention must be made of the technical prowess of both band and leader. Fatoumata complimented her band with an impressive vocal range, rhythm and style. Beyond vocals, Diawara showcased her prowess on guitar with solos reminiscent of the 60’s, ecstatic and energetic dances, as well as a seemingly inhuman level of stamina.

To paint the level of showmanship most accurately, I would point out Fatoumata’s laconic but powerful interludes between songs, her free flowing narrative of thoughts which provided an insight into her perceivably complex edifice of both political and philosophical thought. Through her short speeches one could gain an insight of her understanding of a deeply complex and subjective world, one in which the crimes and misdeeds of the past are not yet healed. Yet her thoughts about Africa, the female role and even humanity’s place in the world provided nothing but hope. A desire to heal and appreciate our diverse, albeit damaged, patch of matter.

I always admire and relish in musicians who recognise their inspirations. It is often telling and provides an insight into the character, background and heritage of the musician. Like meeting a friend of a friend, the shared connection allows for a more genuine and organic interaction. Therefore I felt even more a disciple of Diawara when she loudly proclaimed her inspirations. Fatoumata gave praise to Fela Kuti, the legendary Nigerian Jazz/Afrobeat leader, then breaking off into a Kuti-esque piece, performed with inflections of Fatoumata’s own style. She praised a personal favourite of mine;  Oumou Sangare, a Malian Wassaoulou musician, who acted as mentor to Fatoumata in her early years.

Moving to my personal favourite credit; Nina Simone. Fatoumata’s rendition of Sinnerman by Nina will remain my personal high point in a consistently flawless performance. Fatoumata’s impressive vocal range, as well as the skill of the band accompanying helped shaped this into a personal tribute from one great to another.

I hope this review has achieved the impossible, to document and review an outstanding and otherworldly experience. I would implore any readers to listen to an album, buy a ticket, support this artist, her band and her message.

 

Review: The Strange Tale of Charlie Chaplin and Stan Laurel

Written by Mia Edwards on . Posted in Arts and Culture, Reviews.

Written by Charlie O’Brien…

In 1910 a ship set sail for New York. On board were Charlie Chaplin and Stan Laurel. They were travelling with Fred Karno’s famous comedy troupe, Stan as Charlie’s understudy. It was to be a fateful journey, setting them on their way to alter the course of cinematic history. The Strange Tale of Charlie Chaplin and Stan Laurel (written and directed by Paul Hunter) combines fiction and fact, fantasy and reality to create a live silent film which incorporates elements of music hall. The result is an exquisite, anarchic bio-drama.

This production – co-commissioned by London International Mime Festival – comes to Manchester via the Theatre Royal Plymouth and Told by an Idiot, a company who celebrate the spontaneity and unpredictability of live performance. In their own words; ‘We take creative risks, we tell universal stories and we include everyone.’ They certainly did that here. Playing fast and loose with true events we are taken aboard the ship and witness the ups and downs of show business, interspersed with flashbacks and flash-forwards to significant moments in the respective careers of Chaplin and Laurel. Chaplin will go on to become an icon of the film industry; Laurel will meet Oliver Hardy and form the greatest comedy duo of all time. But for now the two unknowns must share a cabin across the pond.

Physical comedy is hard to do yet the slapstick here was not overblown. There were gorgeous call-backs to classic skits from the silent era. The timelessness of the humour lies in its innocence; it is simple, ridiculous, self-deprecating fun. The set-ups are well-crafted and perfectly executed; the gags landed raucously to a packed house in HOME’s theatre. The cast (Sara Alexander as pianist and Hannah Chaplin, Nick Haverson as Fred Karno, Oliver Hardy, amongst others, and Jerone Marsh-Reid as Stan Laurel and others) are everywhere, singing and dancing. Most importantly, though, they are acting without talking. The miming is fantastic and very watchable. There is some lovely audience participation as Chaplin dances with a ‘love interest’ from the front row. Amalia Vitale is outstanding as Charlie Chaplin; her incredible physicality and hilarious facial expressions drive the show forward. The accompanying music – an original piano score composed by MOBO award winner and Mercury Award nominee Zoe Rahman – adds both a levity and poignancy where appropriate to proceedings. Ioana Curelea’s set design is imaginative and effective; the ship is continually transformed into different spaces and intertitles are cleverly projected onto a red curtain. This ‘true fantasy’ is effortlessly entertaining and moving; a fitting homage to two greats. Another fine evening at HOME.