I am not surprised by much, but sitting though Philip Ridley’s new play Moonfleece
was a curious experience. What I thought was a simple story of modern day foibles
(discontentment, racism, homosexuality and xenophobia) quickly dissipates into
a complex tale of emotional repression. 
Handful
of Henna by Rani Moorthy is an exciting, magical, story of discovery, homecoming and
adventure for a mother and daughter. The play is an exquisitely rendered
production touching on themes of generational and cultural gaps, reconnecting
with loved ones and the healing, mystical power of henna.
1867,
based on an extraordinary figure from America’s past is, ironically reflective
of modern multi cultural London; an Asian director, a white playwright and
a predominantly black cast. The play written by Theresa Roche is a play of
firsts. This is Roche’s debut inspired by the true story of America’s first
female self-made millionaire, Madam CJ Walker. Roche and Palladini productions
do a good job of breathing life into a story that has gathered dust between
the pages of American history books. 
Back
in London for a fourth season, Ballet Rakatan grace the stage again in a glorious
fusion of Afro-Latin rhythms, history and dance.
Based
on Norwegian playwright Henrik Ibsen’s classic 1890 text, this new adaptation
by Terje Tveit takes to the stage. Often regarded as the female “Hamlet”, the
monstrosity that is Hedda Gabler still fascinates, toying with acquaintances
and family members the way a God does with mere mortals. However, at just over
two hours long with no interval, cleverly woven intricacies and nuances may
go over your head. 
We
are delighted to introduce our first recruit to the PRECIOUS Arts Critic Programme
- Irenosen Okojie.
Theresa
Roche
From Precious
REVIEW: This Much Is True
Theatre 503 Battersea
On 22 July 2005, twenty-seven year old Brazilian electrician, Jean Charles de Menezes, was shot dead by the London Metropolitan Police on a stationary train in Stockwell tube station.
London was already on heightened alert because just two weeks earlier, four men took bombs on to three trains and a bus killing themselves and 52 other people. Now award-winning writer and director Paul Unwin and writer Sarah Becks explore the unanswered questions and recriminations that still hang around the actions of the Metropolitan police, regarding that fateful day, four years on.
The tragic tale unwinds by interlocking new and personal testimony from a variety
of sources including Jean Charles' family and friends, senior police officers,
campaigners and eye-witnesses, director Tim Roseman and the solid cast of
Amber Agar, Gerald Kyd, Stefano Braschi, Alice Da Cunha, Beatriz Romilly
and the sublimely brilliant Justine Waddell, alongside additional audio-visual
landscape with deep connecting storytelling.
From the moment you step into the auditorium there is much to
take in. Images screened onto walls, books and other paraphernalia, along
with video streaming, set an encompassing and elaborate melee of puzzles
to illicit some kind of response. Unwin and Beck make no bones about wanting
you to feel something. Nothing about what you see or hear is left to chance.
Whereas previous productions including the transcript piece Stockwell at
the Landor Theatre, focused on the clinical aspect to the event, This Much is True examines the fallout from the tragedy. The palpable atmosphere of fear, dismay
and anger involves having to unlock untruths, including the despicable attempts
by unnamed sources to sully the dead man's character by implying de Menezes
was a sexual predator.
Although the production is beautifully realised, there are times that the relentless
flow of information becames overwhelming and messy. Set changes, overlapping
audio-visuals and a section of the audience on stage, make viewing hard work.
Honing in on selected key events would have made the play more user friendly.
But what This Much Is True highlights
in equal measure, is the panic of the police force before the killing, the
panic afterwards and the denials that only re-enforced the spectacularly catastrophic
turn of events.
3 out of 5
by Jackie Cobham
REVIEW: IT FELT EMPTY WHEN THE HEART WENT AT FIRST BUT IT IS
ALRIGHT NOW
Arcola Theatre
The cost of human trafficking involving women is palpable in two ways. By the pimps who exploit them and by governments who view them as illegal immigrants. .
Producing ground-breaking plays for over 30 years, Clean Break Theatre Company’s remit of dramatising women’s experience of crime and punishment, is realised with the help of playwright Lucy Kirkwood in this disturbing, yet utterly gripping play.
The story centres on two women; young Croatian mother Dijana (Hara Yannas) is brought to England by her boyfriend Babac. He promises her the world but eventually forces her into prostitution. Gloria (Madeline Appiah) is a 'mouthy' West African migrant, who is not short of an opinion or two.
From the outset Kirkwood and director Lucy Morrison bombard the audience with abstract narratives that pack a punch. You are not sure what you are supposed to be seeing, as you are taken through a bizarre complex maze, each pit stop a visual melee of revelation, uncompromising candour and female bonding. You are told not to try to figure it out but to “go with it”.
From a dank and claustrophobic brothel, through to installations hung with toys, clothes, teddy bears and cling filmed wrapped chairs, the ever moving tour encompasses aquariums filled with intricate models, to a detention cell and servicing clients, never losing sight of the bigger picture; the reason these two women are there.
This production is stunning. Gripping and compelling in equal measure. The strength lies in Chloe Lamford’s beautifully realised set design, but the jewel in the crown belongs to Madeline Appiah and Hara Yannas. Appiah shines as Gloria. The playful and trusting nature she shows towards Dijana’s antagonistic mistrust adds to the intrigue, and Appiah’s charisma keeps the tension going, even when it’s uncomfortable to watch.
Yannas’ portrayal of the mistreated and emotionally unpredictable prostitute and absent mother is striking and you stay with her when her life spirals. Taking in the good and the bad.
This modern day take on the slave trade is emotionally draining which is a testament to Kirkwood’s writing, Morrison’s direction, cast and the all-female production team.
by Jackie Cobham
REVIEW: The Mysteries - Yiimimangaliso
The Garrick Theatre
From the outset of this production, a glorious mixture of faith, spirituality and joy fill the air.
The Isango Portobello Company, who all hail from a township in Cape Town, South Africa, unveil a sublimely rich production, full of passion, that touches the heart.
Based on the original medieval mystery plays, this is the Christian story told through folk, music and humour while never forgetting the seriousness of the message.
What is so effective in director and adapter Mark Dornford-May’s exquisite production is how the cast marry a juxtaposition of cultures.
Medieval English and a host of African languages; Afrikaans, Zulu and Xhosa, all vie for attention, but despite the melee of dialects spoken, you never feel lost due to the wonderfully expressive and familiarity of the stories told.
The songs range from the traditional hymn to ‘Singing In The Rain’ and ‘You Are My Sunshine’ to the rousing sounds of percussion, oil drums and the voices of the cast used in a variety of sound effects peppered throughout the show.
What distinguishes this production is Dornford-May’s ingenious idea of making both God and Jesus a woman. Pauline Malefane steps up to the plate admirably, commanding every scene she is in. No moment is wasted as Malefane stamps her mark and you get the feeling you don’t want to mess with her and this is realised in her swift dispatch of the mischievous and troublesome
Lucifer (Noluthando Boqwana) who, dressed in a bright red alluring suit, shimmies sexily, dropping trouble wherever she can. Boqwana’s comic timing and physicality is mesmerising as too is the impressive Zamile Gantana, playing the beer bellied and funny Noah.
Many of the strengths of The Mysteries lies in the stagecraft. A simple cloth held up with a selection of the cast behind it, depicts the ‘Last Supper’ while 'The Flood' is realised by a company member emptying a watering can. There are also scenes which are heavy going, notably the ‘massacre of the innocents’ and the ‘crucifixion’ sequence which keeps you riveted in your seat.
This production hits every spot. Never has the story of the bible
been so gloriously told. A must see.
by Jackie Cobham
5 out of 5
REVIEW: Brazil x 2
Old Red Lion Theatre, London
In celebration of Brazilian theatre, Alter Ego presents Brazil x 2 a double-bill of plays directed by Victor Esses.
The work pulls into focus Brazilian culture past and present, social apathy, sexual repression, and urban mob rule in two distinct stories, The Assault by Jose Vincente and The Last Days of Gilda by Rodrigo de Roure.
The evening opens with The Assault, which is so dire I am going to put it on hold for the moment, because the second play, the whimsical comedy drama, The Last Days of Gilda is the real gem of the evening.
Set in modern day Rio de Janeiro, Gilda, a beautiful and enchanting young girl is in her kitchen trying to keep cool in 40 degrees heat. Slaughtering live chickens while fending off the female inhabitants in her community is the order of the day. Her crime? Poisoning their husbands with a cocktail of food, sex and taking what is sanctified.
Played by the mesmerising Brazilian-French actress Gael Le Cornec, Gilda is hilariously matter-of-fact as she navigates her way through everybody’s lives while dodging bullets, dog excrement and dirty nappies being laid at her door by irate wives, and pandering to the love-stuck husbands who can’t get enough of her charms.
What makes this play work is down to de Roure’s quirky observational script and Le Cornec’s effortless portrayal of a woman whose feisty and sensual demeanour belies the obviously damaged young girl underneath, trapped in a world she is not sure she has the capacity to get out of. Her inventive use of the audience and props covers everything from the food to the men adds to Le Cornec’s command of the stage which makes The Last Days Of Gilda a must see, which cannot be levied at The Assault.
Set in Sao Paolo 1969 Victor (Steven Farah) a lowly, unstable bank clerk kidnaps Hugo (Jade Willis) a night cleaner. Hugo wants to clean but Victor wants to talk. What transpires is not the chance meeting as first thought, but a calculated move to snare the unsuspecting co-worker into his manic, repressed world of money and hidden sexual desire.
The problem with The Assault is that nothing is ever explored just ‘told’. Why these two men do the things they do is never answered, which subsequently makes you care even less about who they are. Farah and Willis try their best but they are on a hiding to nothing with a structurally weak script.
by Jackie Cobham
The Last Days of Gilda 5
out of 5
The Assault 1 out of 5
Times: The Assault: 7.30pm, The
Last Days of Gilda: 9.15pm
Tickets: 0207 837 7816
REVIEW: Ìyà-Ilé(The First Wife)
By PJ Cobham
Iya
– Ile (The First Wife) written by Oladipo Agboluaje begins in 1989, Lagos,
Nigeria. Political madness and social instability has engulfed the country.
War and public status are fought over zealously, but celebrations are afoot.
Toyin the wife of Chief Adeyemi is turning forty but behind the lavish
mansion and finery, everything is coming to a head. Distractions are free-flowing;
from two wayward sons who flit between anarchy and the pursuit of the flesh,
to their parents decaying marriage. In amongst all of this dysfunction
is Helen the housemaid who bides her time…
Playwright Agboluaje is a skilled dramatist; mixing the satirical
with the humorous with a sprinkling of the sublime. His eye for detail
is in abundance here, as he meanders masterfully though the story of two
people who clearly have nothing in common but the superficial.
Toyin (played with ruthless precision by the always engaging
Antonia Okonma from Bad Girls) is a calculating woman who treats status as the ‘be all and end all’. She treats
her housegirl Helen (Estella Daniels) as she does all her servants, without humanity. Toyin loves to humiliate in
order to usurp status, skilfully distinguishing hierarchy by beating and humiliating
them which such ease, you begin to wonder whether she is simply transferring
her own unhappy life onto her servants, whom to varying degrees covertly steal,
deceive and manipulate within their masters lives.
There is much to like about this production. From corrupt reverends, great one-liners, over-sexed idealistic teenagers, snooty political wives to mischievous servants. The cast and set are solid and inviting, costumes uniformly extravagant including the hilariously oversized head wraps and the pace on the whole, evenly matched with dramatic content.
If there was any criticism to levy at this production it would be the stability between the dramatic and the humorous; there are moments when it jars. It’s most notable with the assault from Chief Adeyemi on his wife, which seems to come from nowhere. There was no inkling that his behaviour was so ferocious up to that point.
Despite this, Iya-Ile is an engaging tale summed up by this poignantly chilling statement from serial philanderer Chief Adeyemi (Jude Akuwudike) after he ferociously beats his wife into utter bloodied submission: “There is nothing any of you can do to me! Nothing! I am the man of the house!” as he unashamedly and without taking a breath throws out the old and brings in the new.
Recommended
4 out of 5
REVIEW: Once On This Island
Hackney Empire, London
by Uchenna Izundu
This reggae infused musical fairytale about Ti Moune, determined to find love on a Caribbean island where people are segregated by their skin colour, is a snazzy and energetic affair.
She is a dark skinned girl who was saved by the gods and is determined
to prove to them that love can conquer death.
Ti Moune (Shyko Amos) is from the black impoverished community in Haiti and
she falls for Daniel Beauxhomme, the mixed race Prince, who has affluent French
roots. After nursing him back to health after his car accident, her family
try to dissuade her from seeking his love – pleading that their groups do not
mix.
Through group dance routines, the cast is lively and engaging with lovely costumes and a sparkling set that embraces the rainbow colours of the Caribbean.
The demon of death is the charismatic Jo Servi, who flashes a menacing grin in a sharp bowler hat and amusing skeleton suit. However, the voodoo element that the gods play in Ti Moune’s destiny, is watered down.
Sharon D Clarke, from Holby City, does not have a starring role, despite the publicity posters giving the impression to the contrary. She plays goddess Asaka, which is the patron of agricultural activities, and sports a great straw hat! Her warm and throaty voice is a delight throughout the musical numbers.
This love story doesn’t hold the depth or the complexity of star crossed lovers like Romeo and Juliet: more dialogue and character development is required. What is lovely to watch in this production is its organic nature where the villagers, who are the story tellers, use whatever is at hand to drive the narrative and invoke the spirit of the island. The tempo of this story really only picks up in the second half of the show and unfortunately there isn’t any overriding tune that leaves an impression after it’s finished.
Otherwise, as a show with high production values, its simplicity should be enjoyable for family audiences and adults who have a sweet tooth.
REVIEW: The Tempest
By P J Cobham
The Royal Shakespeare Company, in association with South Africa's
Baxter Theatre Centre sees Associate Artist Antony Sher return to play
Prospero. Joining him is renowned South African actor John Kani playing
Caliban.
An all-African affair, Janice Honeyman’s Tempest touches on
issues that are as relevant today as they were when Shakespeare first wrote
this, his last play. Greed, exploitation of land, power struggles and racism
are the order of the day.
Prospero:
Duke of Milan (Antony Sher) and his brother Antonio (Lionel Newton) are
warring siblings. Prospero is bookish and on the face of it sees power
as an inconvenience. His brother Antonio, on the other hand, has his eye
on the prize. So much so, that he manipulates others into believing his
brother is unfit to rule. Enemies line up thick and fast and eventually
Antonio gets his wish and usurps the dukedom for himself and in the process
casts Prospero and his baby daughter Miranda out to sea. They eventually
land on a distant island once ruled by the witch Sycorax but now inhabited
only by her son, Caliban, and Ariel, a spirit who helps him conjure a storm
that shipwrecks his enemies on the island with the sole purpose of exacting
his revenge.
Visually, Honeyman’s production is stunning. The traditional,
the mythical and the spirit of Africa are beautifully realised here, as
too are the inventive use of puppetry, song and dance in its storytelling.
There is a resonance between culture and humanity and it is the relationship
between Prospero, the spirit Ariel and Caliban that draws you into their
mystical world.
Atandwa Kani who plays Ariel glides around the island and its
inhabitants with ease. His relationship with his master highlights how
vulnerable they both are, but it is Sher and John Kani who command your
attention. The relationship between them is intriguing, antagonistic and
mindful in equal measure. Caliban is depicted as a monster to be vilified
and tormented but he is also a product of man’s behaviour.
This beguiling story is beautifully staged, and is helped along
by a stellar cast, and delightfully rich traditional African dance choreographed
by Christopher Kindo
Not to be missed.
4 ½ out of 5
IN CONVERSATION WITH DAVID AJALA
With roles in A Dark Knight, Adulthood and the lead in a BBC sitcom, David Ajala is fast becoming a young British actor to watch. Currently appearing in the RSC’s A Midsummer Night’s Dream, Amardeep Sohi catches up with him between rehearsals.
Amardeep Sohi: You’re currently playing Cobweb in
The Royal Shakespeare Company’s production of A Midsummer Night’s Dream, which is a fantastic production by the way. What have you enjoyed most about
this role?
David Ajala: I’ve enjoyed a few things. A lot of what we developed for the production came from a series of different ideas and trial and error. When we started I told the director Greg that I could do acrobatics and break dancing and it was cool to experiment with this even though we didn’t end up using it. I think with anything you do, however big or small the part you have to be able to put your stamp on it which is what you bring to that part. That’s what I try to do with all that I do, however big or small.
AS: In this particular production, the fairies (including Cobweb) appear as demonic dolls puppeteered by the cast and I have to say they leave quite an impression on the audience. Did you find working with them a little strange?
DA: I wasn’t sure how we would play the fairies, so when we were told that we were experimenting and playing with dolls, I just took to it. I remember playing around with the dolls in rehearsals and we were moving them towards Steven Tiplady who had to tell us to slow it down. It was at that moment we realised these fairies had the potential to be dangerous as well as mischievous.
AS: You’re also the understudy for Lysander, one of the principal male characters and Snug. Have you ever had to go on as an understudy?
DA: We were just actually rehearsing it now in our rehearsals because we have an understudy run next week and the idea is just to make sure everyone is familiar with the set and has the experience of being their understudy character so that when you do go on, you’re warmed up. I have gone on as an understudy before for Hamlet. These things do happen; I’ve had to go on three times.
AS: How did you find going on at the last minute?
DA: The first time was just before press night. I knew the part and I knew what I was doing so I wasn’t too scared but it was just a little strange. I really enjoyed it and the company were so supportive.
AS: You don’t secretly hope you’ll get the chance to go on…?
DA: I would love to go on as Lysander and Snug but I know to be able to would mean bad news for the other actors and I wouldn’t wish that on any of the cast members. I might hide them in the cupboard or something and sneak on stage though.
AS: So that’s where they should look if you ever go on as Lysander?
DA: Oh no, I shouldn’t have said that!
AS: Going back to Shakespeare, there’s often a stigma attached to his work that it’s inaccessible and difficult, do you think that’s changing?
DA: I definitely think that’s changing, I think that it’s one of those things that if someone doesn’t fully understand it then they may be in a position to be more negative towards it. It’s a bit extreme but I think if you were going to watch a foreign film without subtitles, you may not understand it word for word but you would understand how the characters are feeling, you’d understand where the conflict is and you’d understand what the character’s objective is. You would get all of this without even understanding the language. Shakespeare is far from being a foreign language, but I think well performed Shakespeare is well understood. And it’s always said that Shakespeare isn’t to be read, it’s to be performed. Like any play, the script comes to life when you perform it and Shakespeare’s language is so rich and beautiful.
AS: So what inspired you to start acting?
DA: I think it was just being able to make people laugh, that’s what it was. I went to Kingsland Secondary School in Hackney and like in a lot of inner schools in London, you have to be able to stand your ground. I found myself in a position where if I didn’t stand my ground people would just pick on me. So because I was a bit of a joker I could get out of it and people wouldn’t pick on me. I don’t think you ever really remember the moment where you think I’m going to be an actor. Acting just gave me a platform to express myself. It was a release and an opportunity to meet new people and try different ideas. I went to amateur theatre school and from then I went to the Courtyard Theatre. From there I got a new agent and got to work on a variety of new things.
AS: I just met Sam Alexander who plays Philostrate in the green room and he told me to ask you how your apprenticeship is going?
DA: Ha ha! Because I’m the youngest in the company, Sam sees my position as being on an apprenticeship because I don’t have huge parts. I have small parts here and there and great understudy parts and the way I see it, being with the RSC for nearly a year is like round two of drama school. It’s almost like me building a new foundation and learning new things and kind of making investments in a future career. I’ve learnt so much with the RSC. After the run finishes here I’m blessed to be able to go on to the National Theatre. Again it’s just about learning new things and being able to work on a platform where the calibre of work is to such a great standard and it’s so enjoyable.
AS: What will you be appearing in at the National?
DA: Death and the Kings Horseman by Wole Soyinka. So the apprenticeship is going well and I’m getting paid for it which is good!
AS: What role or part have you been most proud of?
DA: Without sounding cheesy it’s almost like any part that you take on board, you develop it, you go through the hardship of a character and when you take it to the rehearsal stage it’s almost like witnessing a child’s birth. So you just become attached to it and yes you may have a preference, just like you may love your first born child or your second child, but you have a love for them all. That’s how I am, but it’s been great. I’ve been doing so many things. I was actually offered a place at the RSC last year but I had to turn it down because I was doing a TV series called Trexx ‘n’ Flipside which is like Laurel and Hardy meets hip hop. I got to play Flipside which was awesome. It’s a sitcom which was originally on BBC 3 and is now on BBC 2. I’m going to do a bit of plugging now; it’s on BBC 2 on Saturdays at 1.40pm. I also worked on the Batman movie which was awesome.
AS: Yes, I saw that in your profile. What part did you play in Batman?
DA: I was The Joker’s sidekick.
AS: That was a phenomenal movie. How did that part come about?
DA: When I auditioned for it they didn’t tell me that it was for the new Batman movie, they told me it was for a role in a film called Rory’s First Kiss. My agent told me to go to meet the casting director Lucinda Heller. I went in for the audition and I took on board Lucinda’s enthusiasm and support and just did what I needed to do. The day after my agent told me I’d got the part in Rory’s First Kiss and I was loving that. It was a feature film and although I didn’t know what part I was playing – it was a feature film. Two days later she gave me a call again and said “David we’ve done our research and you’re actually going to be working on the new Batman movie”. I remember being in my mum’s kitchen and she was just jumping up and down and dancing and it was awesome.
AS: It was the anniversary of Heath Ledger’s death this week. What was it like working with him on the film?
DA: It’s funny because I didn’t really know Heath’s work. I knew he did Brokeback Mountain and Monster’s Ball but I hadn’t seen him in it. I remember meeting him and talking to him and he was just the nicest guy, he was just so cool. On the day of filming when I saw Heath as The Joker for the first time, it was scary. When you saw him do his takes it was just incredible, it was like a master class in acting. He stayed in character between takes throughout, playing with cards or doing some tricks. When Chris Nolan would say, “number ones at the ready” he would just morph back into The Joker with this intense evilness and scariness. I’ve never seen anything like it. I would look at him and think this guy is going to win awards for this.
AS: You’re only 22 but you’ve worked across film, theatre, TV and radio. Which medium do you prefer?
DA: Um, someone else asked me this recently. When I was working on Trexx ‘n’ Flipside I really enjoyed it, but I missed theatre. I missed having that live reaction and for comedy you need to have that to give you that extra energy. But now I’m here doing theatre I miss doing tv and film.I just enjoy doing it all, but I do want to do some more feature films.
AS: Are there any actors in particular you’d like to work with?
DA: Ah yes, I’ve got a list. Chiwetel Ejiofar. I would love to work with him, beyond being a fellow Nigerian he is an incredible actor and he recently played Othello which I’m gutted to have missed. I just think he’s a great actor with great versatility and his skills have not only allowed him to work in this country but also in the US. I would also love to work with Meryl Streep, I think she’s just flawless, she’s so solid. I’ll just mention those two, because my list is too long.
AS: Who would be your leading lady?
DA: Who would be my leading lady…ok let me just say this for the record: my Mrs. That woman would be my leading lady.
AS: That’s very sweet.
DA: On a professional level it would be Angelina Jolie. I think as well as being a beautiful woman she is so talented.
AS: Where do you see yourself in five years?
DA: In five years….I see myself by God’s grace just doing what I love to do, it’s that simple. When I say doing what I love doing, that could be looking after kids or spending time with my family more, because this profession can be quite hard sometimes.
AS: What advice would you give to aspiring actors?
DA: OK, you have to know the reason why you’re getting into acting in the first place. A lot of people might decide to become an actor from watching awards ceremonies and seeing celebrities in magazines. You have to look at it from the right side of the coin; the reason they’re in that place is because they’ve had to go through x, y and z to get there. Go to stage school, to express yourself and learn your craft. Also, you have to have an entrepreneurial mind frame because we all have bills to pay. You have to try and pursue different avenues to bring in the cash to allow you to have the flexibility to focus on acting. And enjoy, enjoy and enjoy.
For more information go to: www.rsc.org.uk
REVIEW: Havana Rumba
By P J Cobham
Blend together wild nights of rum, rumba and Reggaeton, introduce the hottest
dancers and acrobats from the heart of Havana, add live music from Sonora
La Calle(Cuba’s legendary ten piece salsa band) and what do you get? Toby
Gough’s exuberant vision: Havana Rumba.
Past and present Cuba underpins a kaleidoscope of colour, sexuality, community
spirit, lots of rum drinking and dance.
.
Havana Rumba is a show very much connected to Cuba’s past, yet dreams of a new tomorrow.
A musical journey born out of patriotism, yet yearning to experience the
world.
The fire that is Havana Rumba begins on a street called Callejon de Hamel where every Sunday people gather to dance the rumba. Young, old, rich or poor, this is the place to be, with the charismatic statesman the ‘King of Rumba’ presiding over festivities.
A playful Cuban narrator takes us on a history of Cuba, with all its political machinations and the shenanigans of its inhabitants. Seduction rituals, intoxicating dance sequences( which include a supple acrobat who tumbles across the stage with the precision of a world champion gymnast) light-heated banter are all played out. If a snap shot of Cuban history is what you’re after, then this is a good place to start.
But what is astonishing about this show is the engaging and talented cast. The energy is jaw-dropping, the singing impeccable and the band… well they are a master class in Salsa music. There is no single stand out moment, simply because the show is filled with them. Having said that an honorary mention to the comical “Pizza Song” is in order!
From the Golden Age of Havana in the fifties, hip-hop fusion, the American quest for a better life and the role played by African immigrants gives Havana Rumba a rich tapestry from which to draw from.
Beware though, at the end of the show you need to put on your dancing shoes. For the encore the entire cast gets the audience up and dancing to an impromptu rumba class.
A fantastic must see production.
5 out of 5
Havana Rumba running until 3 May. 8pm
Riverside Studios, Hammersmith, London.
REVIEW: The Tempest
By P J Cobham
The Royal Shakespeare Company, in association with South Africa's Baxter Theatre Centre sees Associate Artist Antony Sher return to play Prospero. Joining him is renowned South African actor John Kani playing Caliban.
An all-African affair, Janice Honeyman’s Tempest touches on issues that are as relevant today as they were when Shakespeare first wrote this, his last play. Greed, exploitation of land, power struggles and racism are the order of the day.
Prospero: Duke of Milan (Antony Sher) and his brother Antonio (Lionel Newton) are warring siblings. Prospero is bookish and on the face of it sees power as an inconvenience. His brother Antonio, on the other hand, has his eye on the prize. So much so, that he manipulates others into believing his brother is unfit to rule. Enemies line up thick and fast and eventually Antonio gets his wish and usurps the dukedom for himself and in the process casts Prospero and his baby daughter Miranda out to sea. They eventually land on a distant island once ruled by the witch Sycorax but now inhabited only by her son, Caliban, and Ariel, a spirit who helps him conjure a storm that shipwrecks his enemies on the island with the sole purpose of exacting his revenge.
Visually, Honeyman’s production is stunning. The traditional, the mythical and the spirit of Africa are beautifully realised here, as too are the inventive use of puppetry, song and dance in its storytelling. There is a resonance between culture and humanity and it is the relationship between Prospero, the spirit Ariel and Caliban that draws you into their mystical world.
Atandwa Kani who plays Ariel glides around the island and its inhabitants with ease. His relationship with his master highlights how vulnerable they both are, but it is Sher and John Kani who command your attention. The relationship between them is intriguing, antagonistic and mindful in equal measure. Caliban is depicted as a monster to be vilified and tormented but he is also a product of man’s behaviour.
This beguiling story is beautifully staged, and is helped along by a stellar cast, and delightfully rich traditional African dance choreographed by Christopher Kindo
Not to be missed.
4 ½ out of 5
IN CONVERSATION WITH DAVID AJALA
With roles in A Dark Knight, Adulthood and the lead in a BBC sitcom, David Ajala is fast becoming a young British actor to watch. Currently appearing in the RSC’s A Midsummer Night’s Dream, Amardeep Sohi catches up with him between rehearsals.
Amardeep Sohi: You’re currently playing Cobweb in The Royal Shakespeare
Company’s production of A Midsummer Night’s Dream, which is a fantastic
production by the way. What have you enjoyed most about this role?
David Ajala: I’ve enjoyed a few things. A lot of what we developed for the production came from a series of different ideas and trial and error. When we started I told the director Greg that I could do acrobatics and break dancing and it was cool to experiment with this even though we didn’t end up using it. I think with anything you do, however big or small the part you have to be able to put your stamp on it which is what you bring to that part. That’s what I try to do with all that I do, however big or small.
AS: In this particular production, the fairies (including Cobweb) appear as demonic dolls puppeteered by the cast and I have to say they leave quite an impression on the audience. Did you find working with them a little strange?
DA: I wasn’t sure how we would play the fairies, so when we were told that we were experimenting and playing with dolls, I just took to it. I remember playing around with the dolls in rehearsals and we were moving them towards Steven Tiplady who had to tell us to slow it down. It was at that moment we realised these fairies had the potential to be dangerous as well as mischievous.
AS: You’re also the understudy for Lysander, one of the principal male characters and Snug. Have you ever had to go on as an understudy?
DA: We were just actually rehearsing it now in our rehearsals because we have an understudy run next week and the idea is just to make sure everyone is familiar with the set and has the experience of being their understudy character so that when you do go on, you’re warmed up. I have gone on as an understudy before for Hamlet. These things do happen; I’ve had to go on three times.
AS: How did you find going on at the last minute?
DA: The first time was just before press night. I knew the part and I knew what I was doing so I wasn’t too scared but it was just a little strange. I really enjoyed it and the company were so supportive.
AS: You don’t secretly hope you’ll get the chance to go on…?
DA: I would love to go on as Lysander and Snug but I know to be able to would mean bad news for the other actors and I wouldn’t wish that on any of the cast members. I might hide them in the cupboard or something and sneak on stage though.
AS: So that’s where they should look if you ever go on as Lysander?
DA: Oh no, I shouldn’t have said that!
AS: Going back to Shakespeare, there’s often a stigma attached to his work that it’s inaccessible and difficult, do you think that’s changing?
DA: I definitely think that’s changing, I think that it’s one of those things that if someone doesn’t fully understand it then they may be in a position to be more negative towards it. It’s a bit extreme but I think if you were going to watch a foreign film without subtitles, you may not understand it word for word but you would understand how the characters are feeling, you’d understand where the conflict is and you’d understand what the character’s objective is. You would get all of this without even understanding the language. Shakespeare is far from being a foreign language, but I think well performed Shakespeare is well understood. And it’s always said that Shakespeare isn’t to be read, it’s to be performed. Like any play, the script comes to life when you perform it and Shakespeare’s language is so rich and beautiful.
AS: So what inspired you to start acting?
DA: I think it was just being able to make people laugh, that’s what it was. I went to Kingsland Secondary School in Hackney and like in a lot of inner schools in London, you have to be able to stand your ground. I found myself in a position where if I didn’t stand my ground people would just pick on me. So because I was a bit of a joker I could get out of it and people wouldn’t pick on me. I don’t think you ever really remember the moment where you think I’m going to be an actor. Acting just gave me a platform to express myself. It was a release and an opportunity to meet new people and try different ideas. I went to amateur theatre school and from then I went to the Courtyard Theatre. From there I got a new agent and got to work on a variety of new things.
AS: I just met Sam Alexander who plays Philostrate in the green room and he told me to ask you how your apprenticeship is going?
DA: Ha ha! Because I’m the youngest in the company, Sam sees my position as being on an apprenticeship because I don’t have huge parts. I have small parts here and there and great understudy parts and the way I see it, being with the RSC for nearly a year is like round two of drama school. It’s almost like me building a new foundation and learning new things and kind of making investments in a future career. I’ve learnt so much with the RSC. After the run finishes here I’m blessed to be able to go on to the National Theatre. Again it’s just about learning new things and being able to work on a platform where the calibre of work is to such a great standard and it’s so enjoyable.
AS: What will you be appearing in at the National?
DA: Death and the Kings Horseman by Wole Soyinka. So the apprenticeship is going well and I’m getting paid for it which is good!
AS: What role or part have you been most proud of?
DA: Without sounding cheesy it’s almost like any part that you take on board, you develop it, you go through the hardship of a character and when you take it to the rehearsal stage it’s almost like witnessing a child’s birth. So you just become attached to it and yes you may have a preference, just like you may love your first born child or your second child, but you have a love for them all. That’s how I am, but it’s been great. I’ve been doing so many things. I was actually offered a place at the RSC last year but I had to turn it down because I was doing a TV series called Trexx ‘n’ Flipside which is like Laurel and Hardy meets hip hop. I got to play Flipside which was awesome. It’s a sitcom which was originally on BBC 3 and is now on BBC 2. I’m going to do a bit of plugging now; it’s on BBC 2 on Saturdays at 1.40pm. I also worked on the Batman movie which was awesome.
AS: Yes, I saw that in your profile. What part did you play in Batman?
DA: I was The Joker’s sidekick.
AS: That was a phenomenal movie. How did that part come about?
DA: When I auditioned for it they didn’t tell me that it was for the new Batman movie, they told me it was for a role in a film called Rory’s First Kiss. My agent told me to go to meet the casting director Lucinda Heller. I went in for the audition and I took on board Lucinda’s enthusiasm and support and just did what I needed to do. The day after my agent told me I’d got the part in Rory’s First Kiss and I was loving that. It was a feature film and although I didn’t know what part I was playing – it was a feature film. Two days later she gave me a call again and said “David we’ve done our research and you’re actually going to be working on the new Batman movie”. I remember being in my mum’s kitchen and she was just jumping up and down and dancing and it was awesome.
AS: It was the anniversary of Heath Ledger’s death this week. What was it like working with him on the film?
DA: It’s funny because I didn’t really know Heath’s work. I knew he did Brokeback Mountain and Monster’s Ball but I hadn’t seen him in it. I remember meeting him and talking to him and he was just the nicest guy, he was just so cool. On the day of filming when I saw Heath as The Joker for the first time, it was scary. When you saw him do his takes it was just incredible, it was like a master class in acting. He stayed in character between takes throughout, playing with cards or doing some tricks. When Chris Nolan would say, “number ones at the ready” he would just morph back into The Joker with this intense evilness and scariness. I’ve never seen anything like it. I would look at him and think this guy is going to win awards for this.
AS: You’re only 22 but you’ve worked across film, theatre, TV and radio. Which medium do you prefer?
DA: Um, someone else asked me this recently. When I was working on Trexx ‘n’ Flipside I really enjoyed it, but I missed theatre. I missed having that live reaction and for comedy you need to have that to give you that extra energy. But now I’m here doing theatre I miss doing tv and film.I just enjoy doing it all, but I do want to do some more feature films.
AS: Are there any actors in particular you’d like to work with?
DA: Ah yes, I’ve got a list. Chiwetel Ejiofar. I would love to work with him, beyond being a fellow Nigerian he is an incredible actor and he recently played Othello which I’m gutted to have missed. I just think he’s a great actor with great versatility and his skills have not only allowed him to work in this country but also in the US. I would also love to work with Meryl Streep, I think she’s just flawless, she’s so solid. I’ll just mention those two, because my list is too long.
AS: Who would be your leading lady?
DA: Who would be my leading lady…ok let me just say this for the record: my Mrs. That woman would be my leading lady.
AS: That’s very sweet.
DA: On a professional level it would be Angelina Jolie. I think as well as being a beautiful woman she is so talented.
AS: Where do you see yourself in five years?
DA: In five years….I see myself by God’s grace just doing what I love to do, it’s that simple. When I say doing what I love doing, that could be looking after kids or spending time with my family more, because this profession can be quite hard sometimes.
AS: What advice would you give to aspiring actors?
DA: OK, you have to know the reason why you’re getting into acting in the first place. A lot of people might decide to become an actor from watching awards ceremonies and seeing celebrities in magazines. You have to look at it from the right side of the coin; the reason they’re in that place is because they’ve had to go through x, y and z to get there. Go to stage school, to express yourself and learn your craft. Also, you have to have an entrepreneurial mind frame because we all have bills to pay. You have to try and pursue different avenues to bring in the cash to allow you to have the flexibility to focus on acting. And enjoy, enjoy and enjoy.
For more information go to: www.rsc.org.uk
