Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Writing a review for Bear Trap Theatre Company's debut show, Bound, seems at this point to be one that is unlikely to contain many surprises. Telling the story of six trawler-men forced out into one final trip where we see their egos and their lives wrestle one another, the show has been a critical favourite since its premiere. The piece has won the Fringe First Award, the NSDF and Methuen Drama Emerging Artists Competition, mass popular appeal at Edinburgh's yearly festival itself, as well as a host of other awards and accolades. Notably the majority of these were given nearly a year ago. Is the magic still there? Late in the day, just past the mid-point in a nationwide tour, do the company and Bound still maintain their power? Yes. Resoundingly, unarguably yes. 'Bound' deserves every award it got. If you want to see stripped-to-the-bones, tight, pit-of-your-gut emotional theatre go see this show. If you live anywhere near Leeds your plans for this coming Friday are now to go see this show.
In production terms the show is markedly restrained - a rare quality in a young company. The physical-work and mime are for the majority simple and functional, setting scene and action for characters while allowing the audience to focus on the powerhouse performances. However, when performed as an ensemble in perfect time, the directed movement brings a flare and beauty to the actions of working men.
The lighting and set are sparse to a degree that would cripple lesser actors, as the audience are instantly aware of every flaw and slip. Bear Trap has chosen to attack this head-on, with every cast member embodying their character with consistently complex physical and vocal work. The actors throw themselves at each other and around the room like caged animals, or brood, brag and sulk in stillness when required. They shout over each other, mutter in the background of scenes, slam tables, bark and sneer with unbridled masculinity. This is a rough, hard set of men and the show reflects that.
Artistic Directors of the company, Jesse Briton and Joe Darke, are the primary creative forces behind the work. Briton takes on the roles of director and writer, and Darke musical and movement director - a specialisation that produces striking results. Every scene change, as well as the open and close of the show, are enriched by the company with choral acapella renditions of traditional sailing shanties. Marvellously performed, these give a unique richness to the production and an otherworldliness that sits in excellent balance to the violence of the script, as well as giving a new complexity to its brutish heroes. In these songs and their performance are best embodied hard-work and heart that gives this show its uncut diamond feel, its raw power.
Bound will be showing at:
The Carriageworks, Leeds. 8th July
Live Theatre, Newcastle. 9th July
Quarterhouse, Folkestone. 11th July
Burton Taylor Studio, Oxford. 12th July
Hull Truck Theatre. 14th-16th July
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