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Friday 11 June 2021

REVIEW: A Russian Doll at The Barn Theatre in Cirencester


The title of this 1-hour political monologue suggests the mystery and delight of the Matryoshka dolls, the stacking dolls that are a classic souvenir of tourists to Russia which implies ever more interesting revelations as they are unpacked. This nested doll metaphor implies an object within an object is revealed in the secrets behind the Facebook stories that influenced the 2016 Brexit Referendum. However, the monologue is monotone with a steady level of unemotional delivery in a heavy Russian accent that needed some variation in tone, a little light relief and a genuine feeling of fear of the consequences of not complying with the paymaster's instructions. 

Rachel Redford who graduated from RADA in 2013 plays Masha, a Russian undergraduate in St Petersburg who is recruited into the misinformation team of the FSB, the Federal Security service responsible for counterterrorism and the protection and defence of the state. She mines social media for data on influencers in the UK and then subtlety feeds them information to stir up and amplify fears in a cyberwar to affect the outcome of the referendum. We never meet Jay-Z the misnamed leader of the unit or her co-worker Dima and I think it would have been more interesting if we had to add to the dynamism of the piece. Redford does well as the cold almost mechanical cyber warrior who likes cold coffee and cold food and is as unemotional as Putin himself. 
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Thursday 19 November 2020

REVIEW: Marry Me A Little, The Barn Theatre, Cirencester


A catalogue of songs largely cut from Sondheim shows; Marry Me A Little follows an estranged couple, now living in separate apartments, dreaming of a connection outside their four walls - something we can all relate to more than we’d like this year. The Barn was one of the first regional theatres to re-open and stage socially-distanced productions in their outdoor space over the Summer. Each of those shows received huge praise, and this is no exception.

It’s incredibly refreshing to see both performers in a different light. Celinde Schoenmaker (a seasoned Christine Daae), and Rob Houchen (a veteran Marius) are both given the opportunity to play with a broad range of different emotions throughout the sung-through piece. They make a formidable partnership and deliver exceptional performances.

We hear a wonderful, fuller voice from Schoenmaker in Can That Boy Foxtrot, beautifully contrasting her famous soprano, whilst Girls Of Summer is sultry and full of yearning. In the show’s title number, she teases big, belted notes and then quickly switches to a soprano sound. Finally, in There Won’t Be Trumpets she opens fire, and it is absolutely worth the wait. Thrilling!
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