Tag Archives: Theatre For Young Audiences

Review: Fantastically Great Women Who Changed the World

Wales Millennium Centre

Cardiff

18/01/2024

Photo Credit: Pamela Raith

“It’s Marie Curie!”

A small girl’s voice ringing out across the auditorium in delight as she sees one of her heroes represented on stage sums up Fantastically Great Women Who Changed the World. Adapted by Chris Bush from the picture book of the same name by Kate Pankhurst, this is a show that celebrates women past, present and future.

Introducing a variety of historical figures, such as Amelia Earhart, Frida Kahlo, Gertrude Ederle, Emmeline Pankhurst and Sacagawea, this whistle-stop tour of women’s history is carried on a score of upbeat pop songs as each woman tells their story. The recipient of these stories is Jade, a young girl who has strayed from her school tour group and found herself in the off-limits Gallery of Greatness. Finding herself in trouble as a result of the unseen labour she took on to care for her classmates, and questioning why she doesn’t get a say in decisions in her life, Jade is the perfect character to ask the right questions and demonstrate the importance of having role models you can recognize yourself in.

Though the show feels, at times, like it has tried to cram a little too much into its 80 minutes, dashing through depictions of women in history and bringing in questions about Jade’s parents’ divorce that it doesn’t quite manage to address, it is a joyful celebration of women’s achievements that is sure to leave audiences buoyed and reminded of their own power. In its staging as well as its story, Fantastically Great Women Who Changed the World forefronts women, from quite literally highlighting a kick-ass drum solo and spelling out references to contemporary icons with Joanna Scotcher’s colourful neon light-box set, to the captivating on stage BSL interpretation.

Reminding us that we “stand in the spot carved out by the women before us,” Fantastically Great Women Who Changed the World” is an uplifting and engaging family show that provides a memorable introduction to intersectional feminism and women’s history.

Fantastically Great Women Who Changed the World runs at Wales Millennium Centre until 21st January 2024, before continuing its tour.

Review – Fable

Dublin Fringe

Project Arts Centre

09/09/18

Originally published on The Reviews Hub.

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Billed as “a sinister dance theatre production for young adults” in its programme, Fable is a show that more than lives up to its description. In this collection of five short dance stories, which blend elements of both street dance and contemporary dance, Human Collective trust and challenge their audience. Each of the stories in Fable explores different facets of present and near future life, presenting chilling possibilities for the continuation of humankind. In some stories, the ideas presented seem like the preserve of dystopian fiction, but others seem all too familiar, making the more dystopian ones seem plausible too. This is an interrogation of modern life that draws bleak conclusions while leaving a doorway open for hope and change.

The ensemble, made up of Matt Szczerek, Tobi Balogun, Leon Dwyer and Cristian Dirocie, is a strong blend of different, but complementary, performance styles and energies. This is particularly evident in the relatively simple but remarkably striking choreography in the third story, entitled “The Changelings of Smolensk.” Dancing with suitcases, and using them as malleable props to denote different stages of their journey, the ensemble resembles a poetic Newton’s cradle, the synchronicity of their movements suggesting a perpetual collective motion. Alongside this strong ensemble work, certain dancers stand out in solo passages, with each dancer’s individual style shining through in their performance of Szczerek’s choreography. Particularly notable was Dirocie, who has surely made a pact with gravity, or perhaps replaced his joints with springs. The flowing, electrical intensity of his performance provided an individual (but not overpowering) spark in ensemble sequences, and turned that spark into a flame in his arresting solo pieces.

The design in the piece was relatively simple, with an empty stage and pared back (but effective) lighting design by Eoin Lennon. In tandem with Lennon’s lighting design, Grzegorz Szczerek’s score created the setting within the empty space. There was also considerable use of projection, designed by Cathy Coughlan, throughout the piece. Though there were interesting elements to the video design, it often distracted from the work of the dancers on stage. This was particularly noticeable in Matt Szczerek’s solo story, where the videos of him dancing on screen drew focus from his impressive live performance on stage. There were points at which one felt the need to choose between following the story on stage or on screen; the two elements were competing rather than complimenting each other.  The live performances were strong enough to carry the thread of the piece through this, perhaps suggesting that they could have carried the meaning of the piece throughout, without on-screen additions.

Fable is a striking, accomplished piece of dance theatre that confidently trusts its young audience to understand and interrogate the world around them, and to recognise the need to change and shape the future.

Runs until 16 September 2018 | Image: Contributed

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Review – Susie and the Story Shredder

Dublin Fringe

Project Arts Centre

09/09/18

Originally published on The Reviews Hub

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Imagine a world without stories, a world where stories were banned by law. In the kingdom of Levitas, that is exactly the case; spoiled King Levi outlawed stories after he found it too difficult to write his own. If he couldn’t enjoy writing stories, then no-one else could either. But, of course, it is not that easy to stop a child’s imagination and so King Levi employed story destroyers to get rid of the stories written by rebellious children.

Bombinate Theatre’s Susie and the Story Shredder tells the story (Yes, the story! Thankfully King Levi’s laws don’t apply in Dublin) of one such story destroyer, Susie, and her trusty mechanical companion, Shredder. Susie is one of the kingdom’s best story destroyers; she has even created a new invention, which she can’t wait to present to the king. The show follows Susie’s story as she realises that maybe stories are not as dangerous as King Levi suggested.

Mollie Molumby and Ursula McGinn’s script is sparklingly funny, and a charming celebration of creativity. Pause for a second and think of every pun on the word ‘shred’ that you can. Done that? McGinn and Molumby have thought of at least three more.  Matthew Malone and Clodagh Mooney Duggan bring the script to life with enthusiasm, and a dash of mischief, knowing exactly when to look to the audience for a reaction and handling moments of audience interaction with skill and energy. Add to this an amusing sound design by Michael-David McKernan, an enormous and endearing Shredder designed by Johann Fitzpatrick, and some shadow puppetry from Emily Collins and Tales From the Shadows, and you have a delightful storybook world on stage.

Both silly and insightful, Susie and the Story Shredder draws the audience in, makes us laugh, and reminds us of the power of a bright imagination.

Runs until 16 September 2018 | Image: Contributed

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Review – Shhh…The Elves Are Very Shy

Botanic Gardens

07/08/18

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Elves are very shy, but if you know what to do and where to look you might be able to find evidence of elves, or even a real life elf. In Shhh…The Elves Are Very Shy, Elfologist Dr. Faye Greenwood takes to the stage to teach her audience all about elves, and perhaps even introduce a few of her elvin friends. This piece of theatre for the littlest audience members and their families is a delightful multisensory experience that is accessible to all ages.

Using four facts about elves as a structure for the performance, writer and performer Charlotte Allan brings her audience on an exploration of all things elvish. We learn that elves love red things, making and dancing, and really don’t like iron. As Allan explores each of the facts with her audience, she creates an interactive multisensory space for all of her young audience members to get involved in. Whether it is making a red dotty shape, offering suggestions, enjoying the coloured scarves and other objects that are handed around, or featuring in the charming improvised song that Dr. Greenwood sings to try to persuade the elves to come out, there is a way for every audience member to get involved. Allan demonstrates a real skill for involving her audience in the story, and giving each child enough attention while still moving the narrative forward.

Though there is a text-basis for the show, language is not necessary to enjoy it as there is a strong multisensory element to the show. Allan creates signs to go along with certain key words in the show, provides pictures, plays music, hands around props, and ensures that there is no need to understand the text to understand the show. The final section of the show, the much anticipated appearance of the elves is beautifully done, with a screen in a box showing a video of the elves and giving the impression that there are actually elves in the box. Dr. Faye Greenwood drops objects into the box, and they appear in the video, perfectly in sync. This innovation and precision is an exciting and charming example of how technology can be used to create magic on stage.

In the perfect setting of the Botanic Gardens (where Dr. Greenwood has collected a number of examples of elf activity), Shhh…The Elves Are Very Shy is a beautiful piece of interactive theatre that will delight young audiences.

Shhh…The Elves Are Very Shy runs at the Botanic Gardens, Edinburgh, until August 26th as part of the Edinburgh Festival Fringe.

Review – Ellie and the Enormous Sneeze

Assembly Roxy

05/08/18

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Nine year old Ellie longs for adventure, as any nine year-old should, but her aunt is too worried to let her. She worries that if Ellie goes exploring their little brown town, something terrible might happen. But even curious little Ellie couldn’t get into any adventures going to borrow a cup of sugar from a neighbour could she? When her worried auntie sends her next door to do just that, however, Ellie proves that she can find an adventure anywhere.

After cycling off on her bike, Ellie spots something in the distance, a house, and it looks like it is on fire! She cycles out of the town and up the hill to investigate. When she enters the house, which is not on fire, she meets Stanley, an old man who cannot sneeze. With the help of some chocolate pudding and a long list, Ellie sets out to try 1000 ways to trigger a sneeze.

Mouths of Lions create an energetic and charming production that reminds us of the importance of friendship and helping each other. The three performers deliver enthusiastic and considered performances, perfectly pitched towards the age of their audience. Louise Dickenson is an hilariously highly-strung Aunt Tracy, knowing exactly how far she can push her wails and panicked babbling to keep her audience laughing.  Both Oliver Weatherly as Stanley and Shea Wojtus as Ellie balance silliness with sweetness, creating a space for the audience to laugh, and to see the messages of friendship within the story. Adding to this, Tom Crosely-Thorne’s compositions bring a further layer of energy and storytelling to the piece.

Ellie and the Enormous Sneeze is a funny, well-thought out production filled with bogeys and dreams.

Ellie and the Enormous Sneeze runs at Assembly Roxy until 27th August as part of the Edinburgh Festival Fringe.

 

Review – Clowntown: I Can Do Anything

Clowntown: I Can Do Anything

Surgeon’s Hall

Edinburgh Fringe

03/08/18

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“In Clowntown everyone’s funny,
In Clowntown we don’t need money,
In Clowntown nobody’s wearing a crown.”

Candy and Dandy of The Sphere Clown Band take to the stage with their various musical instruments to introduce their audience to Clowntown, a town where you can do anything. The younger members of the audience are invited onto the stage where they are made honorary members of the town council of Clowntown, and invited to dance along to a number of songs, try out Clown exercises and enjoy some magic tricks.

This production is at times an enjoyable interactive show that was well received by its younger audience, who launched themselves into “Clownercise” and their roles as zoo animals with gusto. However, though it is a lively and entertaining show, there are times at which Clowntown finds its audience drifting as the pace draws out. It does not seem confident in itself, which leaves it feeling somewhat clumsy and haphazard. While the classic trope of the clown attempting and failing comically at something was employed effectively at times, at others it felt more that the performer was not in control. The clown character may be struggling, but to retain the audience’s engagement the performer needs to retain control and confidence. As we reached the final song, “I Can do Anything,” the haphazard feeling to the piece continued. The song incorporated performance in American Sign Language, which was a nice element, but it was the first time it was introduced in the piece, seeming more of an afterthought than an intrinsic element. Similarly, the title of the song, “I Can Do Anything” was introduced as the theme of the piece (which is also mentioned in the title), but the theme was not notably present throughout the rest of the show.

Clowntown is a fun production, with good ideas and intentions which don’t quite come to fruition over the course of the show.

Clowntown: I Can Do Anything runs at the Space @ Surgeon’s Hall until August 25th as part of the Edinburgh Festival Fringe.