Tag Archives: Digital

Review: Aalaapi

La Messe Basse

Assembly Showcatcher

Edinburgh Festival Fringe

“It is a kind of expression to be silent because what we are hearing is beautiful.”

Aalaapi is a layered online theatre work, combining a radio documentary in which five young Inuit women speak about their lives, and the on-stage production in which two other Inuit women, Nancy Saunders and Ulivia Uviluk, listen to the radio documentary. As the audience watches these women through the small window in their house on stage, they are given a window into Inuit culture, and the lives of women living within it.

Directed by Laurence Dauphinais, Aalapi uses the radio as it’s centre point, grounding the rest of the activity on stage around it. For the majority of the show, the audience only sees the performers through the small frame of the window, but the radio is always present as a centrepiece of the household and an important cultural object in Nordic communities. Layering the trilingual soundscape of the radio documentary with the chat of the women on stage, Inuit throat singing, the ever-present sounds of the landscape, and beautiful informative projections of words, maps and landscapes animated by Camille Monette-Dubeau, Aalaapi immerses its audience in Inuit culture for 80 minutes, at first in the position of outside onlooker, and by the end as a welcomed visitor.

This is not a fast paced plot-driven show, it simply invites its audience to sit, listen and consider. It is poetic and meditative, taking on the pace of a long dark winter evening spent in cosy familiar company. Though the information it shares through its documentary elements is important to share, the truly striking feature of Aalaapi is this slow, naturalistic pace. The act of having two women on stage just chatting, living and listening to the voices of other indigenous women on the radio feels gently radical. There is no need for the idealised strong female lead in this play, because it celebrates the reality of women who are allowed space to be both strong and vulnerable in turn, who don’t have to do something extraordinary to be seen. It makes space for the real day-to-day lives of women to be represented.

Constructed with skill and ingenuity, Aalaapi is an absorbing and immersive piece of documentary theatre which demonstrates the true power of representation on stage. La Messe Basse have created an extraordinary work about ordinary lives.

Aalaapi is available to stream on demand via Assembly Showcatcher until 30th August as part of the Edinburgh Festival Fringe.

Review: Few Are Angels

Three Chairs and a Hat

Edinburgh Festival Fringe

Online@theSpaceUK

Setting several of Shakespeare’s famous women into modern-day settings, Few Are Angels invites its audience to revisit the Bard’s female characters in a new light. Directed by Wayne T. Brown, Cleopatra sits in a dark cell, wearing a striking red dress, and performs her monologue to a CCTV camera, Helena from A Midsummer Night’s Dream finds herself on a nondescript suburban path, and Much Ado about Nothing’s  Beatrice lights up a cigarette and texts the first few lines of her dialogue.

Some texts transfer more easily into their modern settings than others. Mistress Page’s monologue lacks some of its original context, and Beatrice’s one-sided dialogue with the silent camera standing in for Benedict loses some of its meaning without Benedict’s lines. In contrast, the setting of Cressida’s monologue in the scenario of a woman on a dating site transfers easily and brings a new humour to the monologue as Cressida sits in front of her laptop in her tiger onesie with a box of chocolates and a glass of wine to hand. Similarly the Courtesan’s monologue from The Comedy of Errors fits perfectly into the setting of a neighbour in her marigolds and curlers chatting over the garden fence. Those monologues which find a foothold in the zeitgeist, whether through cultivating a garden as many of us did in lockdown, online dating, or chatting with neighbours from a distance, find the most success in their updating.

The highlight of these is certainly Julie Todd’s tear-jerking rendition of Fear no More the Heat o’ the Sun from Cymbeline. With new music composed by Nia Williams, this dirge accompanies the story of a recent widow, with a montage of scenes from her husband’s final moments as he lies in bed wearing an oxygen mask, and her gradually adjusting to an empty house. Touching on a grief that is familiar to many people in the past year, this scene stands out as a heartfelt example of how an old text can apply to new settings.

Just as the updating of Shakespeare’s text is mixed in its success, the quality of execution in the filming of the work is patchy. I found myself reaching for the remote control at the start of each monologue, having to adjust the volume between levels 5 and 20 to keep up with the unstable volume levels of the work. Though the monologues have clearly been directed and performed with filming in mind, the technical quality means that the work feel uncomfortable in its digital setting, leaving its audience with the feeling that they have not seen it to its full potential.

Bringing these characters, who would originally have been written to be played by young men, into the present day played by a large cast of women, Few Are Angels begins with a strong concept, though stumbles in its adaptation and digital execution.

Few Are Angels is available to stream on-demand until 29th August.

Review – The University of Wonder and Imagination

Two men standing beside a flight case marked Cahoots NI, surrounded by frames and lighting bars. The man in the foreground holds a sign saying "The University of Wonder and Imagination."
Cahoots Artistic Director Paul McEneaney with actor Hugh W Brown launching the new Cahoots show University of Wonder & Imagination. Photo by Francine Montgomery.

“Wonder can always exist if we use our imagination” 

Wise words from Professor Bamberg (Sean Kearns), and with this production Cahoots NI prove that they have imagination in spades. The University of Wonder and Imagination is not streamed theatre, or theatre transferred to Zoom, it is a new, pandemic-born creature – Zoom Theatre. The company is not making theatre despite having to use Zoom, it is making theatre for Zoom. With innovation aplenty, The University of Wonder and Imagination transports its audience from their homes into a wonderland of treats, tricks and fun.

Entering the “telecomology” device, the audience is brought to visit a handful of the Professors in the warren of the University. After a visit to the Professor of Probability (Lata Sharma), the audience chooses what professors to visit and are off into on an interactive journey of wonder and imagination. From “mathemagic” with Professor Carmo, played by magician Caolan McBride, to songs about space with Professor Lola Hurst (Philippa O’Hara), and painting marvels in the art department with Professor Hoffman (Hugh W. Brown), there is something to delight everyone.

The entire cast appears as comfortable on Zoom as they would be on stage; interacting with the audience members, navigating green-screen sets, and deftly handling transitions between virtual spaces. Though the audience are on their sofas at home, the cast draws them fully into the world of the show, using every virtual trick and tool available to them.

Director Paul Bosco Mc Eneaney has taken the limitations of pandemic theatre and turned them into possibilities, creating an innovative, exciting and engaging work for young audiences. The University of Wonder and Imagination certainly lives up to its name.

The University of Wonder and Imagination runs at the Belfast International Arts Festival from Thursday 22 October to Sunday 25 October and Thursday 29 October – Sunday 1 November. It is recommended for ages 7+.