Next up in The Other Room’s Lovesick season is All But Gone, and is the first piece directed by Dan Jones after taking over as Artistic Director. Oh, and this is a production you won’t want to miss.
This time round your ticket is a seat at the kitchen table in Owen’s home, and we’re right up close as the story unfolds with a young boy breaking in to his home in the early hours of the morning. However, the writer is quick to make clear that this piece is not all staged in one set point in time, and we are transported back in time to key points in Owen’s life, as dementia slowly takes hold of his remaining memories and he has trouble differentiating old friends from new.
As people from Owen’s past are introduced, and storylines intersect and cross over, we learn of his difficult decisions, and his battles with society’s acceptable version of himself, as well as those who came in to his life and left again. The reliance between Kai and Owen is touching to watch, and the family dynamic between Bev, Howell and their mother will strike a cord with many in the audience. There are no weak performances within the cast, and the story flows fluidly through time and between moments of humour, loss and despair.
With a set like no other yet again in the intimate pub theatre, and clever lighting design transporting us back and forth in time with ease, All But Gone is a touching and poignant piece which glows with powerfully poetic writing and strong direction despite the vague memories presented. A stellar production, and one not to miss in Cardiff this month.
All But Gone runs at The Other Room until April 14th. Follow them on Twitter @TORtheatre
The Other Room are back with their new season LoveSick, the first under new Artistic Director, Dan Jones. First up in the season is Caryl Churchill’s, A Number, proving that the writing is as relevant today as it was when first written back in 2002.
A fast paced two hander, as the two men take to the centre of the room the air is tense, unsettled and withthe space set up in the traverse, an uncomfortable but intriguing game of back and forth ensues. We soon learn that the two are father and son, and it seems their history was not all as it seems as the lies unravel and the truth comes to light. After unfortunate events years ago, the father chooses for scientists to clone his son to give himself another shot at fatherhood. But it’s not just the one, there’s a number of them, unbeknown to either of them.
This play showcases The Other Room in yet another new light as once again the set and lighting design soar. Being able to see other audience members on the opposite side of the room adds a sense of unease as nobody wishes to catch another’s eye, as we shift from one character to the other, and back again. Fortunately the piece itself is no longer than an hour as any longer and those in the centre of the room would have cramp in their neck trying to keep up. This is mostly down to the fact that each actor is hugely watchable and Stevie Raines in particular was brilliant to watch as he switched between a ball of nerves, an edgier alternative and a relaxed, happy with banana ice cream version of himself.
An unsettling but hugely relevant and interesting production, as identity and personality are put under the microscope and intentions are queried, with possibilities trialled and tested. Well worth a watch in The Other Room this season!
Christmas is all go, the shops are rammed, the decorations are up and an evening in a pub theatre is right up there on my list of festive musts this year. Flossy and Boo are The Other Room’s Christmas offering for this year and I dare you to go along and not leave with a grin on your face…
When asked to do a Christmas play, there is one main issue for the gleeful duo… they have no idea what Christmas is… or what a play is for that matter! So a period of research and development ensues, as the two have discovered that this is essential for any play, with your festive favourites and a few unexpected treats thrown in along the way in the build up to the nativity.
Flossy and Boo work incredibly well together as they rattle through their Christmas findings, reminding us of the downsides to the festive period from hangovers to commercialism to family arguments, whilst also riskily but cleverly allowing the audience to steer the order of their antics and sketches. The real gems of the piece are the musical interludes, as the talented duo switch from ukuleles to keyboards, as they sing about those round robin greeting cards which tell of boosted achievements, and lonely train journeys searching for love.
With some help from technician Bethan a long the way, everyone is welcomed in to Flossy and Boo’s version of Christmas as if they were long lost relatives, with songs, sprouts and party hats galore… what more could you wish for? A pure festive treat: this is an alternativity which will have you singing along, secretly nodding in agreement and cackling with laughter as the two prove Christmas cabaret is where it’s at.
Flossy and Boo (with a y and a double oo): The Alternativity plays at the Other Room until December 23rd.
Next up in The Other Room’s autumn season is the debut production from new company, Graphic. Directed by Chelsea Gillard, no stranger to the space, My Name is Rachel Corrie is spirited and ever important as it takes to the floor in Cardiff’s pub theatre this week.
American activist, Rachel Corrie was intentionally hit and killed by a bulldozer in Gaza when she was just 23 years old. This production is made up of diary entries and emails from her life up to this point as she leaves her teenage bedroom in Washington behind and travels to Gaza to bring that touch of humanity back to the war stricken border between Israel and Palestine.
The soundscape is an excellent touch to the production and while Corrie rattles through conversations, nights sleeping on the floor next to the children of her adopted family and her hunts for a ballpoint pen, the added background noise and changes in lighting really help to emphasise the timing and context of the piece
Despite the power in the writing, the piece takes it time to get going and drama student Shannon Keogh struggles to add the needed darkness and light to the piece until the last 15 minutes. Don’t get me wrong, while the importance and truth in her words is apparent, she doesn’t quite seem to believe in her own performance and despite the brilliant stage design, her static presence unfortunately causes the mind to wander.
Full of resistance and relevance, but with not quite enough fight or pace in its delivery, My Name is Rachel Corrie is a promising debut from Graphic.
My name is Rachel Corrie runs at The Other Room until 21st October
The Other Room are back with their autumn season and to kick start proceedings, Theatr Run Amok have taken over with their brave production of hang by debbie tucker green. In it’s regional premiere, having last been performed in the U.K. at the Royal Court, this is not one for those looking for a relaxed evening out that’s for sure.
We’re introduced to One, Two and Three as hang tells of one woman’s decision two years on from a situation unknown to the audience. Showcasing Cardiff’s pub theatre in yet another new light, the scene is aptly stark and simple as the water cooler takes centre stage and case workers, One and Two, do their best to make victim, Three as comfortable as possible… despite the elephant in the room. The death penalty. And what a weight to carry on your shoulders: Could you make that call? To decide somebodies fate as the victim of their crime? As Three twitches, and shakes, with prolonged pauses, the audience are on edge from the opening of the door, as questions swim around the space and the awkward naivety of Two provides some light hearted relief to the situation in hand with expert comic timing.
As the case workers story becomes unraveled and lies and home truths come to light, hints of Three’s experiences leading up to this point are revealed and the options for carrying out the death penalty are given in a heartless, factual fashion. Whilst we never find out what really happened that day, Anita Reynolds is a true force behind the character as she simmers and eventually overboils, giving grit and power to the role and the whole piece.
While the play’s title may be a slight spoiler to Three’s decision, the script allows for no time to sit easy in confidence of the outcome as the dark, yet light words come fast and fierce. A powerful trio of performances, the casting is spot on for hang and under the brilliant direction from Izzy Rabey, this is another piece in The Other Room which will leave you questioning and reeling well after you’ve emerged back in to the reality of the busy bar next door.
Theatre RunAmok’s hang plays at The Other Room until 16th September.
As the third and final addition to their Outliers season, The Other Room are back this week with Escape the Scaffold fresh from it’s run at co-producers, theatre 503 in London and yet again, this takes the audience on a brand new journey as soon as the doors close behind them. As we settle down for a rare two act production in the tucked away space at Porters, it’s safe to say we are soon locked down within the house the same as the characters we meet.
The plot jumps back and forth between time but revolves around three friends from university, both in their student days, pjs and tequila shots and all, and also their lives years later as they meet again under different circumstances. As we step in to a basically furnished house, we see hints of relationships within the love triangle of Grace, Aaron and Marcus and while moments of their interaction show real glimmers of reality, there is a permanent state of unease and their political differences clash from the early on chicken dinner. From a student lifestyle where the outside world is full of plans to move on and grow up, to what appears to be a police controlled state where the outside world is unsafe and full of fear, there are themes of love, delusion and danger throughout as the three have big choices to make.
The set is instantly brought to life by a beautiful lighting arrangement by Katy Morrison, as the basement shines with lost hope through the floorboards and the wallpapered walls show hints of the past etched into them. However, the transitions between scenes are sometimes disjointed and the constant switches in time are disorientating at best as the storyline proved too elusive to keep up with throughout.
A bewildering, fast paced production which left too many questions unanswered for my liking, but theatre to make you think whilst leaving a sense of unease is no mean feat, and in Escape the Scaffold, the directors and actors collaborate to create a tense and relevant performance.
Escape the Scaffold plays at The Other Room until the 6th May. For all TOR related updates, follow @TORtheatre on Twitter.
Not pronounced as you’d expect, Seanmhair (Shen-a-var) is next up in The Other Room’s Outliers season and once again this production is nothing like you’ve ever seen before in the tucked away gem of a black box inside Porters bar. Written by Hywel John, Seanmhair takes us back to the dingy side streets of 1950s Edinburgh and the life of Jenny, at various points in time.
With an immediately haunting setting and opening monologue, the enclosed audience are drawn into a dark, grim alleyway with dingy lighting and flashes of strip lights and introduced to three women, all barefoot, all playing variations of the same woman. We’re introduced to an old woman trapped by a husband’s illness, lost of all vitality and tenacity, as he now only pecks at bird type food lost of all power, and then sent straight back in time to a young girl and her enchantment with the glimmer glimmer of the elusive Tommy on her way to school.
As their lives entwine, their naivety has disturbing and damaging consequences, and it is down to Jenny’s Seanmhair (Scotts Gaelic for Grandmother) to step in as all three actors take on multiple roles, switching effortlessly between bullying school girls, Tommy’s Mother and other members of Jenny’s family. Each actor is captivating in their performance, and their movement and synchronicity kept the audience entranced from the dimming of the lights. A certain level of concentration is required but it is very easy to slip into Hywel John’s world in this fast paced, tornado like script, and Kate Wasserberg’s direction keeps you both on your toes and glued to the window pane into this Edinburgh tale.
A haunting and incredibly powerful production, the three actors work seamlessly together as the tight knit script come to life in a claustrophobic and full throttle manner.
Seanmhair plays at The Other Room until 1st April and will also feature at the Edinburgh Festival this August. Follow @TORtheatre for updates.