REVIEW: Rumpelstiltskin at the Southbank Centre

Following runs in Australia, this brave and bold retelling of the famous fairy tale Rumpelstiltskin is now at the Southbank Centre in London. Collaborating on this new production are Australian based theatre companies – Windmill Theatre Company and State Theatre Company SA, who reunite the creative team behind their acclaimed retelling of ‘Pinocchio’. Directed and co-written by Rosemary Myers along with co-writer Julianne O’Brien. 

This eccentric reimagining sees Rumpelstiltskin – born of human parents, but not one himself – develop magic powers and become a renowned fashion designer. Full of latin flair and camp humour, Rat (Alirio Zavarce) along with sharp-tongued, sharp-eyebrowed Crow (Elena Carapetis) accompany our villain along his way. Except, to the outside world, Rumpelstiltskin doesn’t exist. Instead Malcolm, played with guileless humour by Mitchell Butel, is paraded around as the “hoooot” face of ‘Rumpelstiltskin’ fashion house. Finally, throw Harriet – our female protagonist – into the mix; bullied at school and now determined to make something of herself and prove her bullies wrong – at whatever cost. Here, Sheridan Harbridge offers a perfect blend of earnestness, compassion and a dollop of humour to complete our cast. 

REVIEW: Perfectly Ordinary at G Live in Guildford

Set in the psychiatric ward of an NHS hospital, this stirring new musical with book and lyrics by Matthew Rankcom and music by Joe Wilson is a poignant exploration of six inpatients; their past, their daily routines and their journey to feeling ‘ordinary.’ 

Wilson’s score is varied – from patter-like songs such as ‘New Best Friend’ to arpeggiated ‘Absence’ but the overall feel is one of fitting calm. Bookmarking beginning, middle and end is the beautiful Sunrise; each person sings their own individual part layered on the other, but together they produce one sound. Indicative of their shared experiences, their common truth, their normality. 

What is particularly fascinating is the staggering self-awareness written into these characters. With skill, Ranckom has afforded them the cognitive ability to reflect on both past actions and thoughts about the future and to articulate profoundly. Rarely, but albeit occasionally this becomes a little sweeping, but it’s not outside the realm of possibility to assume that these life-altering conditions afford the patients a greater perspective. And it is this self-awareness nevertheless which is what makes them so ‘ordinary.’ For every relapse in behaviour, these patients take time to reflect. Some also acknowledge their need to be looked after; there is fear of the outside world which stems from an introspective idea that they have of themselves. “It’s just not my time” is the way one character rationalises their decision to return to the ward. 

REVIEW: It’s Only Life at the Union Theatre

We all deal with heartache/heartbreak in our own ways. Some stuff their faces with choc or ice cream, others turn to yoga or other ‘spiritual’ activities, often people will reinvent themselves to some degree with a new haircut or a new wardrobe, and some people seek refuge in the note that Stephen Sondheim once wrote them which they carefully place on their bedside table. (That’s not me by the way..) John Bucchino wrote songs - and thank goodness that he did. 30 years worth of ‘life’ and 30 years spent skilfully and articulately encapsulating his experiences of love, for no specific purpose and certainly not with a musical in mind. In 2004 however, “It’s Only Life” came to life and its currently being revived at the Union Theatre.

The beauty of this piece is that it allows each production to interpret the show as they wish, and maybe that’s testament to the strength of the songs themselves and how they seem to speak to everyone. So universal are the words and the music that accompany that anything layered on top, serves to contextualise the particular story that is being told this time round.

REVIEW: Dust at the Soho Theatre

Milly Thomas’s punching new play transfers to the SOHO theatre following a hugely successful run at the Edinburgh Fringe Festival last summer.

She plays a woman called Alice. Well, actually, she plays a lot of people in Alice’s life as well. But predominantly Alice. A woman suffering with mental health issues who is driven to taking her own life. Which she does, but not really. As in yes, she’s committed suicide, but - without getting too caught up in spirituality - something is still living. And with this she is still able to see everyone in her life, in the aftermath of her death.

She begins with a candid sense of objectivity. She talks about her body, or rather to it - apologising for not being healthy, for not making her lovers wear condoms and this is an interesting thought in itself; how we actively neglect something we have total control of and which is built to support and protect us.