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.
With the end of week six fast approaching and my DramaSoc virginity still up for grabs, I decided on (OK, a second year Panto fanatic coerced me into) seeing my first university play.
Stepping out of the Fresher routine of drinking every night in all the same venues, my initial feeling was of disbelief – I didn’t recognise any of these people! Well there’s a first time for everything. Quickly, I forgot about my fellow audience and become totally immersed in what was the strangest two hours of my life in York to date.
Reminiscent of the haunted mansions of funfairs, entering the Drama Barn was like being on a ghost train. Walking along the three sides before crossing the stage to our seats, we were harassed by stewards in pig masks, a man muttering through a dark window as we passed directly in front of him and various hanging objects. Once seated, we watched as other quite worried students entered through the upper stage doors, already feeling the stress of a theatre-goer forced to react to their surroundings.
From the moment I entered the Barn, I was faced with a dilemma – should I be scared or should I laugh? When the door by which we had entered was locked, with no less than four bolts, was that a sign to panic?
The set looked just like my kitchen, plus the red stains. Oh and with considerably more chocolate wrappers – the actors were gorging on chocolate throughout, definitely a major incentive to get involved in DramaSoc.
Sex, drugs and rock'n'roll; there’s a bit of each in this dreamlike play. Disturbing sexual tendencies are revealed throughout – through erectile descriptions, harassment of an unconscious woman, radical gay jokes and a gimp mask. All buttons were pressed to evoke response from the audience.
Then there’s the repeated doping of Haley to calm her troubled slumber. After a dominant half hour of constant dialogue, Haley spends the rest of the play asleep on the couch and is intermittently given a medicine soaked dummy (or finger!) to soothe her. What is she taking and will they help me sleep through fresher renditions of “Sweet Child of Mine” outside my window at 4am?
And with a final audience teaser, the play ends as suddenly as it began, leaving us all speechless: what th-?
As for the rock'n'roll incarnated by Cosmo Disney, a deranged boy dressed as a clown who enjoys eating cockroaches and perving on sleeping women, it’s all flash and spirit fingers. His acting was magnificent, provocative and well, pretty damn scary. But that’s the point.
Indeed, nothing really happens. It’s all about anticipation and provocation. And with a final audience teaser, the play ends as suddenly as it began, leaving us all speechless: what th-?
Catch this show for the last time tonight at the Drama Barn. Doors open at 7.30 and tickets (£3.50/£4.50; members/non-members) are available on the door. Arrive early to avoid disappointment.
You must log in to submit a comment.
