Review of "Stories About People I Used to Know"

Stories About People I Used to Know
Written and Performed by: Adrian Poynton
The Camden Head
22/08/2009- 23/08/2009
*A funny, light-hearted, and entertaining hour of stand-up comedy.

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Adrian Poynton is a very funny man. Well known on the comedy circuit and an award-winning writer, he brings his newest creation “Stories About People I Used to Know” to this year’s Camden Fringe Festival. The premise of the show is this: having lost touch with all of his former classmates, save the few that have contacted him through Facebook, Adrian is curious to know what has become of them. Armed with nothing but his six-year-old school picture and his imagination, Adrian sets out to discover the fate of his childhood friends. His tales take a sometimes-fanciful route, telling of the young boy obsessed with boats that has now sailed to a private island and become King. Likewise, the girl that Adrian married in a daisy chain ceremony on the schoolyard when he was nine has remarried, but still pines for that first, simpler wedding. His troublemaking, foul mouthed, free spirited friend has become a nun, and the girl who broke his six-year-old heart has been horribly and ironically struck down. In the end, he invites his adult friends to re-invent his own future and imagine him as the others in that class picture might. The beauty of inventing the truth instead of taking the trouble to find it out, Poynton argues, is that in his mind people can be whatever he wants and needs them to be. Likewise, if no one knows what has become of him, his life can seem far more interesting and meaningful than it is.
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This is new material for Poynton, and he has structured it well. Some areas need a bit more work; for example, moments when he reads aloud to the audience from emails and pretend diary entries run the risk of dragging on. Overall, though, this is a cleverly thought out and skillfully executed piece of comedy. Adrian Poynton has excellent comic delivery and is adept at engaging his audience in his stories and wry observations. He has perfected the art of gentle self-deprecation, bringing himself to his audience’s level and rendering him extremely likable and charming.
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Contrary to what the title suggests, this is not a show entirely based around Adrian’s childhood stories. Half of the show looks to his past, while the other half finds the humor in his present. Commentary on his new marriage, his career, and his struggles with turning thirty strike a particularly amusing and familiar note. And certainly, the real beauty in Adrian’s creation is that it is so relatable. 4 Stars.
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Playing through August 23rd at the Camden Head in Camden as a part of the Camden Fringe Festival. Review written by Megan Hunter for Fringe Review.

Review of "Is This My Art?"

Is This My Art?

Written & Performed by: Zoe Lavelle

Etcetera Theatre
16/08/2009- 17/08/2009

*A delightful look at the role of personal historical accuracy in artistic expression.

Zoe is not the girl she used to be. Zoë is not the girl she used to be. Zoey is not the girl she used to be. She is also not who she appears to be; or is she? In Zoe Lavelle’s one-woman show, ‘Is This My Art’, themes of manipulation and exaggeration through art are explored with humor, wit, and intelligence. Through her fictional character, Zoe Dickens, Ms. Lavelle shares real snapshots of her childhood, adolescence, and adulthood. ‘You have to go back in order to go forward’, she claims, and in an attempt to discover her identity she revisits some of the more poignant moments of her life in a quest for self-realization. Instead of truth, however, she finds that she has unwittingly altered her memory of events. Where the reality has been too painful, she has created a more favorable one in its place. A part of ‘Is This My Art’ is biographical, Zoe promises, but neither she nor her audience will come to know which part that is.


Zoe Lavelle is endearing, a massively talented young actor with superb comic delivery and physicality. She has written a convincing script and she delivers it with conviction. This subject matter could have easily become dark and over-emotive. Thankfully, its creator has instead infused her work with a cheery playfulness. Set against a nearly empty stage, Lavelle cleverly integrates real photographs from her life, original video clips, and an easel in order to tell her story and to assist her audience in visualization. Lighting and sound are also appropriate for the piece, and the staging feels fresh and natural. The only real disappointment, then, is the run-time. At just over thirty minutes, ‘Is This My Art’ comes to its brief end just as its main character is at her most engaging. If the character of Zoe has set out to find answers, the playwright has stopped her and her audience from discovering them. Perhaps this is the point; perhaps no one ever really knows himself or herself fully. However, lengthening this piece a bit could only serve to make its impact more memorable. As it currently is, it is delightful and highly recommended. 4 Stars.


Playing through August 17th at the Etcetera Theatre in Camden as a part of the Camden Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk

Review of "We Go Wandering at Night"

We Go Wandering at NightWritten & Directed by: Paul Ham
Presented by: Define Choice
The Cock Tavern Theatre
10/08/2009- 15/08/2009

*Define Choice's first production blends high energy with a whole lot of heart.


What place, if any, does religion serve in a modern world? Does God exist, and if so, why would (s)he allow suffering to take place? Is there any meaning to life? Why are we here? What fuels our need to believe or prompts us to reject belief entirely? ‘We Go Wandering at Night’ puts these questions forward in an attempt to discover their truths. Intentionally, it does not always succeed in finding the answers. Neither does playwright Paul Ham claim to have them; he admits to knowing practically nothing at all about Faith. Nevertheless, in this piece, he and his fellow actors confront the more complicated questions head on and invite their audience to do the same. Perhaps the closest that they come to an answer, and to a moral for their story, is this: ‘It’s not important that you have faith in God or in religion, only that you have faith in something- starting with yourself”.

As the play opens, Adam is sitting in a nondescript waiting room, clearly agitated, and speaking to a voice that represents God. As Adam unravels the pieces of his troubled life, it becomes clear that his best intentions have been hindered repeatedly by the influence of previous trauma. Confronted with God’s forgiveness, he rejects it resolutely. He has never asked for forgiveness, Adam reasons, and he cannot justify apologizing to a God who would stand by while there is so much evil in the world. This struggle is at the very heart of the production, and Adam only achieves inner peace when he has learned to forgive himself and others, and to accept that there are questions for which no answer is sufficient.

This promising young cast is comprised entirely of recent ArtsEd graduates, and their passion for the theatre and their work is prodigious. As Adam, Brendan Murphy incorporates his natural ability for physical comedy, infusing the piece with a refreshing lightheartedness and humour when it is least expected. He is equally good in moments that call for emotional depth and sincerity. Daniel Doidge as The Voice (of God) and Paul Ham round out this talented cast nicely, with the latter being particularly memorable in the role of Mr. Deus. In addition to writing and acting in the piece, Paul Ham also directs. Challenges often arise when assuming so many roles but Mr. Ham appears to have succeeded, with the staging well considered and clear.

Despite its strengths, the production could still improve upon a few things. For example, some parts of the script need a bit of work. Pieces of well-conceived back-story could benefit from a more consistent connection with the rest of the plot. Moreover, the pace in the first thirty minutes felt rushed, meaning that the action was occasionally difficult to follow. However, these things can be overlooked when the stronger points of the piece are considered. Define Choice say in their program notes that ‘This is only the beginning, and we are looking to grow with each show’. This production is a solid beginning, then. Even more, this is a company to watch. 3 Stars.

Playing through August 15th at the Cock Tavern Theatre in Kilburn as a part of the London Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk/.

Review of "Lady in Bed"

Lady in Bed

Written & Performed by: Alison Goldie

Directed by: Laura Lloyd

Etcetera Theatre

12/082009- 15/08/2009

*An uncompromisingly honest, racy, and utterly exuberant piece of theatre.

What would you say to your teenage self, on the brink of discovering your sexuality, if you had the chance? In The Weird Sisters’ production of ‘Lady in Bed’, Alison Goldie takes this chance. Her advice: ‘Above all else, make it your mission in life to know yourself, value yourself, and love yourself’. ‘Lady in Bed’ promises to be very funny, and it is, but it is also touching, poignant, and honest. At the age of 48, Alison Goldie is feeling retrospective (‘When you get older, there’s always what-might-have-beens’), and in an attempt to discover exactly why she has turned out as she has, she takes a trip to the bedroom of her fourteen-year-old self. She advises her younger personality to be kinder to her mother, truer to her desires, and accepting of what lies ahead. She also dispels the notion that she will ever become ‘a famous actress’. She will not, she confesses; but she will meet some wonderful and interesting people. Over the course of an hour, she introduces these people through stories and impersonations, and they are undeniably interesting. There is a blonde American surfer, a poverty-stricken Greek artist, a pot-smoking comedian, a Turkish sailor, a posh older gentleman whom she admits is more of a ‘father-figure’ than anything else, and a long line of Scousers. However, none of these characters are more interesting than the storyteller, and her observations are at once witty and familiar.

It is impossible not to like Alison Goldie. She has written her script with warmth and honesty and delivers it with startling intimacy. This is ‘adult material’, to be sure, but it is never uncomfortable. Ms. Goldie has a long history in the stand-up comedy world, having toured with Eddie Izzard and Jack Dee, and she is also a terrific actor. As a one-woman performance, her spot-on portrayals of everyone from her former lovers to a cheery array of animals help to keep things interesting and fresh. Direction and staging by Laura Lloyd is also exceptional. The stage is completely bare aside from a single chair, but the physicality combined with colourful descriptions and an appropriate use of lighting creates the sensation of being transported to each location. Musical interludes ranging from David Bowie and Charlie Parker to Estelle add to the whimsical feel.

‘Lady in Bed’ is not groundbreaking theatre, but then it isn’t meant to be. It is frank and entertaining without taking itself too seriously. This is the narrative of one woman’s life of relationships and sex, but there is obviously a wider, universal appeal in these experiences. Indeed, it is in the relatability of both Alison Goldie and her stories where the piece truly succeeds. 4 Stars.

Playing through August 15th at the Etcetera Theatre in Camden as a part of the Camden Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "The Mountaintop"

The Mountaintop

Written by: Katori Hall

Trafalgar Studios, London

16/07/2009 - 5/09/2009

On April 3rd, 1968, the Reverend Dr. Martin Luther King, Jr. gave what was to be his final speech to a crowd of 2,000 people in Memphis, Tennessee. The next day he would be dead, shot at 6:01 pm on a balcony outside of the Lorraine Motel. His last speech would come to be known as the "I've been to the mountaintop" address. His death would spark riots in more than 100 cities throughout America, but his life had ignited a movement for peace and equality that would far outlive its leader.

Few figures in modern history have inspired the raw emotion and passion of Dr. King, and even 40 years on from his death, those who were touched by the man and his message cannot help but feel a sense of personal ownership towards his legacy. King spoke to us of our dreams and fears, and he shone a compassionate light on the darkest parts of our nature. It is no wonder, then, that his imperfections and his very "human-ness" have been largely overlooked in the pages of history. We expect our leaders to tower God-like over us, not to be as tragically flawed as we are ourselves.

With this in mind, Katori Hall's "Mountaintop" runs the serious risk of ruffling a few feathers. From our first introduction, her King smokes, drinks, swears, lies, and cheats on his wife. His incredible charisma, charm, and compassion are also present, but it's the unapologetic way in which Hall allows her subject to be real that makes this piece so fascinating to watch. Hall's writing is moving, an unexpected blend of the real and surreal, influenced by a childhood spent only a stone's throw away from the Lorraine. With a wealth of information available about his public persona, Hall is more interested in showing us the man behind the myth. This is a man who takes off his shoes and tie, goes to the toilet, and then questions everything about himself and the movement for which he is fighting. This is not a story about MLK's life; "The Mountaintop" is an intimate and unflinching portrayal of the civil rights leader in the final hours before his death.

David Harewood is obviously taking a risk in the role of King, and it is a risk that largely pays off. Harewood is an exceptional actor with a larger than life presence, and he captures his subject's movements, inflection, and charisma well. As his counter, Lorraine Burroughs is also superb, grounding the piece with much-needed comic relief. It's apparent that the subject matter resonates deeply with them both, and their passion for the work is infectious. The production is staged entirely in one room, the motel room in which King spent the night before his death, but Libby Watson's use of faux windows and sources of off-stage lighting keep the set from feeling claustrophobic.

Of course, a few areas need improvement. Harewood, for example, has mastered King's oratorical skills, but it's difficult to imagine the man using the same intensity of speech during the more intimate moments of his private life. Telephone conversations with his wife and child run the risk of sounding like a prepared speech as opposed to revealing his softer and more fragile side. And at times, Harewood's impression of King, albeit extremely well studied, sacrificed a more honest portrayal of those final hours. In addition, Katori Hall's humorous lines, notably those hinting at future events, sometimes felt scripted and out of place. In the end, though, these shortcomings are a small price to pay for what is an enjoyable evening of theatre.

The most moving elements in "Mountaintop" come in the form of the audio and visual clips that open and close the play. Flashes of pictures and sound documenting the triumphs of African Americans over the past half century seem all the more poignant in the current political climate. Indeed, the words of President Obama close the show: "Yes, we can". The real Dr. King may not have lived to see his metaphorical "Mountaintop"; in Hall's version, she at least allows him a glimpse of it. 4 Stars.