Theatre: The Spring Tide

Venue: Old Red Lion Theatre, Islington
Tickets: from £12 (or what you can afford to pay on Tuesdays) http://www.oldredliontheatre.co.uk/the-spring-tide.htm
Run: Tuesday - Saturday 7.30pm; Saturday and Sunday 3pm - until 21st September

With little given away in the publicity material for this play, we sat down in the cosy intimate space of the Old Red Lion studio space, not knowing what to expect. 

The staging was simple, a wall decorated to reflect a coastal view, created by A4 print outs of photos of the two main characters, and 5 wooden storage crates. Yet with this simple props (and the occasional addition of a bicycle) we were transported to a multitude of settings and times, all equally believable. 

Barriers between the stage and the audience were broken down, enhancing the romantic tension, as actors and sets pushed themselves right into the space between the two. 

Producer Oliver Taheri (@OliverTProds) said he was drawn to this play and a desire to see it produced as it represents quality new writing (thanks to Carol Vine) about characters and a situation that is often invisible with the media - women coming out later in life, after being married and having a family. And yet, within the cast, crew (and this audience member) there were many examples of this situation occurring. 

As the older characters' situation escalates, we are given the insight of how their relationships have developed since they were children. The decisions being made in later life are a consequence of the choices made when younger - exploring whether compromise and conformity are the best options.

With well developed characters,  outstanding dialogue and excellent performances across the board, this production has everything going for it.

This tear-jerking, dynamic, tense and poignant drama is incredibly well and subtly delivered, from it's philosophy to what is presented on stage. Despite the unexpected ending, which did wrestle with my conscience a little, this play has everything that is the best of studio theatre. Bravo. 

By Katie
 

Theatre: Speed Twins at Riverside Studios (by Maureen Chadwick)

"Standing at the Gates - choices & consequences"

Venue: Riverside Studios
Run:  Until 28th September
Tickets: £22.50 & £30.00
Purchase: https://www.riversidestudios.co.uk/online/performances.php?eventId=1111:2849

Bringing the Gateways back to life, but as a haunted, ghostly, deliberately eery setting with unnatural-narratology, this play explores how things turned out for some of our lesbian sisters of the past, and perhaps how they should have been had society been different. Through the situation and dilemma the characters find themselves in, there is a deep exploration of sexuality and identity, being oneself or choosing another route to confirm, and the consequences of a lifetime of living with those choices. Given a do-over - would we choose the same?


Amanda Boxer (Ollie) Mia Mackie (Shirley)
Photos: Catherine Ashmore 

Using the passage towards death as a lens, and a "dyke heaven" as the setting, different aspects of being a lesbian through the 1900s compared with modern times are discussed, re-enacted, rejected and accepted by the core three characters, ably played by the 3 strong all female cast. Humour is paced well throughout, although the overuse of lesbian stereotypes was a little staid at time. For most of the play, we don't know (along with the characters) exactly where they are and why they are there. However, by the time of the big reveal, it has all begun to make sense.

The staging and story at once transported us back to the Gateways sixties hey day and for another, brought out a strong desire to experience it for real - a frustration for those of us who are simply too young, juxtaposed against a sense of having it far easier in 2013 and not needing a safe haven in the same way. Chadwick's references to well known (and well chronicled) events at the Gateways, along with references to the established reputation of the place, bring to life the reverence within which the community held the establishment.

Excellent sound and lighting effects brought the staging to life and often guided the narrative journey in an effective manner, although perhaps with too much influence from the likes of Lost or Life on Mars. (Think smoke monster and you are close to the communicative air vent on stage). The juke box in particular as it played songs and wove in between loud and live and dream like enhanced the haunted performances. 


Mia Mackie (Shirley) Polly Hemingway (Queenie) Amanda Boxer (Ollie)

Photos: Catherine Ashmore

 

 

Tickets are priced from £22.50 which is on the steep side for a studio performance, however if you are interested in recapturing or engaging with our lesbian, queer women's heritage, this is an excellent opportunity. There is a gala performance on Tuesday 10th September in aid of Stonewall.

Mia Mackie (Shirley) Polly Hemingway (Queenie) Amanda Boxer (Ollie)

Photos: Catherine Ashmore

 

By Katie
 

Theatre: Freakoid (Ovalhouse)

Venue: Ovalhouse theatre

Dates: 19 Feb - 9 March

Tickets: £14/£10/£8 available  from Ovalhouse

Dear quiet unassuming Emma 4, we have all met her at some point in our life. A woman of a certain age who has lived a disappointing life which has left her, well, a tad neurotic and lets be honest we’ve all discounted her as a boring and pointless. However, in this whip-smart show Emma 4 is anything but. 

Emma 4 takes refuge from her miserable life in the library, trouble is knowledge is power and she discovers that she is not what she thinks she is – a full blood human being. Emma 4’s great-grandmother crossed a socially acceptable line back in her day by falling in love with a sentient machine. 

To everybody’s surprise this union proved to be fruitful and a hooverdroid was born which grew up to become an AquaVac which in turn had children eventually leading to our Emma 4. Emma’s discovery of her true self sets her inner rebel free. Gradually we realise this invisible woman is actually a one woman resistance force helping the half meats, bot-fuckers and hooverdroids to rise up from the sewers they have been living in and overthrow the droid-phobic Orwellian regime they are living under.

So the allegory is about as subtle as a flying brick but it is fabulous, very funny and an important reminder of the struggle for LGBT rights that have gone on since the second world war. We are lucky enough to be of a generation and living in a country where we can more or less expect to be treated with civility if not universally adored. Our parents were not so lucky and it is important to remember that hard won rights can easily be lost.

“Freakoid” is one of the most inventive pieces of theatre I have seen in a very long time and richly deserves to be seen by a far wider audience. Keep your eye out for Emma Adams who both wrote and performed this play along with Sarah Applewhite who directed. They are going to pop up in the West End at some point soon or you could go see this production and tell your grandchildren how you saw that Emma Adams before she got famous.

By Laura Alexander