UK Theatre Network

The Vagina Monologues by Eve Ensler, Richmond Theatre

 

Cast:          Zaraah Abrahams

Louisa Lytton

Wendi Peters

           
              © Writer: Tremayne

 

The Foreword by Gloria Steinem at the beginning of The Vagina Monologues by Eve Ensler gives us a flavour of what to expect in the monologues themselves. She writes ,‘I come from the “down there” generation. ..those were the words.. ..that the women in my family used to refer to all the female genitalia, internal or external.  ..I never once heard the word clitoris. It would be years before I learned the females possessed the only organ in the human body with no function other than to feel pleasure. If such an organ were unique to the male body, can you imagine how much we would hear about it.’

Quite an alternative opening to The Vagina Monologues when the announcements are given out to the audience!  One such example would be when it came to the switching off of mobile phones, and the following suggestion was made of ‘alternatively, switch your mobile to vibrate, lay back and..’  I shall allow for your imagination to wander here!

A set of facts follow.  In brief, how Eve Ensler, the Writer of The Vagina Monologues interviewed more than two hundred women, and through the material they shared she was able to change their responses into what has come to be referred to as ‘poetry for the theatre.’ Women were said to have ‘entrusted her with their most intimate experiences, from sex to birthing’, and ‘from the undeclared war against war to the new freedom of love between women.’  Then, through the use of careful wording, the three performers: Zaraah Abrahams, Louisa Lytton and Wendi Peters, address the Richmond Theatre audience directly saying, ‘a reliable source in Richmond says that “Spunk Satchel” is how you refer to a vagina!’

 

One woman, Ensler spoke to, underwent therapy that involved her going down with herself, and when she finally found her clitoris she apparently cried.
The monologue ‘The Flood’ [Jewish, Queens accent], is dedicated to her, ‘Like the cellar.  There’s rumbles down there sometimes.  You can hear the pipes.. ..it gets wet, and sometimes people have to come and plug up the leaks.  Otherwise, the door stays closed.’

When it came to the ‘Vagina Fact’ monologue, or a kind of insertion placed between two different monologues, the most memorable fact to jump out at me was that, ‘the clitoris is simply a bundle of nerves’, made up of ‘8,000 nerve fibres.’  I was absolutely astounded!We are then informed that ‘it is a higher concentration of nerve fibres than is found anywhere else in the body, including the fingertips, lips and tongue.’ And to emphasise this very fact Ensler writes that, ‘it is twice…twice…twice the number in the penis!’  Funny how the vast majority of women would not be aware of this!

A prizewinner of a line is delivered by Actress, Wendi Peters, and refers to the rampant rabbit, suggesting that it might be sewn into the gusset of cotton underwear to make you come a little more easily. That, and travelling along the London Underground’s Northern Line, which had the audience, predominately made up of women, laugh immediately.The production sets itself up well to break for an interval as the cast members talk amongst themselves about what beverage they will be having but they cleverly invite us in on the conversation, and with the mention of a gin & tonic from one of them, I feel up to having the same interval drink!  Manipulative, and clever marketing one might argue!

We return to our seats for  Part II, and the three Actresses: Zaraah Abrahams, Louisa Lytton and Wendi Peters interact with us as a way of settling us back into the show after a 20-minute interval.  They test us to see how well we took in the stand-out facts we were given through the ‘Vagina Fact’ newsfeed, or ‘The Clit Factor’as Zaraah Abrahams coined it.   This prompted me and the friend I had gone to see it with to re-name it ‘The Clit Factor’ and had us giggling for a fair amount of time afterwards, but not too much mind. We did not wish to spoil what still remained of the performance!

 

..the shape we call a heart – whose symmetry of the organ that shares its name – is probably a residual female genital symbol. It was reduced from power to romance by centuries of male dominance.’ (Gloria Steinem)

 

I was pleased to see that Zaraah Abraham got the opportunity to take another stab at a monologue that was darker in  tone, as she clearly had the most versatility out of the three.  She was able to shift from a lighthearted and more upbeat monologue one moment to one that would cause your tears to well up, the next. The first monologue she took on dealt with a Rape Camp in Bosnia, where the vagina is described, at first, as a village with ‘water soft pink fields’, and then that of a probable village but with an uncertainty of what actually lies there since its unwelcomed invasion. I am pleased to add that this was the most poignant monologue, and as a result, my favourite. My enjoyment of listening to it was not effected by the nervous laughter that could be heard from the auditorium.

 

‘My vagina a live wet water village.

They invaded it. Butchered it and burned it down.

I do not touch now.

Do not visit.’

Miraculously and professionally the Actress was able to remain focused and find her way to the end of the monologue without even so much of a blip.

I raise my hat to Louisa Lytton who had the hard , or enjoyable task, depending on how you look at it, of playing out live on stage the various different orgasms there are before the ultimate climactic fireworks.

My only real criticism would be that Part II of the performance is considerably shorter than the first. Therefore,it might not be a bad idea to re-work the show  to level it out better, making each part similar in length. But overall an enlightening piece which has you embracing you and every inch of your womanhood!  A great way to start my week having got to see it on a Sunday night!

‘The Vagina Monologues’, offers a personal, grounded-in-the-body way of moving toward the future.’ (Gloria Steinem).

V-DAY: UNTIL THE VIOLENCE STOPS

● V-Day is a movement: an organized effort to finally end violence against women.

● V-Day is a vision: we see a civilization where women live in freedom and safety.

● V-Day is a spirit: affirming that life should be lived creating and thriving rather than surviving or recovering from terrible atrocities.

● V-Day is a catalyst: by raising wide public awareness of the issue, it will reinvigorate efforts already under way and commence new initiatives in publicity, education, and law.

● V-Day is a vital ongoing process: we proclaim Valentine’s Day as V-Day until the violence against women stops, and then it will become Victory Day.

 

 

 

 

 

 

The Unrest Cure

Simon Godziek & Rob Groves

Pentameters Theatre

8^th November- 26^th November- Viewed on 24^th November

‘A wonderful comic collection of misunderstandings and delicious play-on-words’

 

Called one of London’s ‘Best Kept Secrets’, the Pentameters Theatre is introduced to me by a local chap as a “quaint and intimate” theatre, which makes it a great choice of venue to house the World Premiere of this relaxed and warm-hearted comedy.  I’m welcomed by Leonie Scott-Matthews, founder of the Theatre (and also playing comic token character, Mrs. Thomas), and travel up some stairs and down the corridor to a charming 1930’s living room. The homey touches of the studio, previously the old billiard-room, add to this set’s character; leaving you with the feeling that you’ve entered the Sea View Hotel, where our play is set, rather than a carefully constructed stage. The grand scale of the set draws in the audience, and the sound of Peggy Lee, invokes nostalgic images of high tea and sounds of drawing-room banter.

The play is homage to the quintessential British playwright, PG Wodehouse, and the light-hearted punchy prose works well. A nice touch is the play’s attempt to also address today’s audience with witty satirical asides about current politics. With a packed house, the interest in this world premiere is evident. The opening action of the play takes place on-board a train compartment on the way to the Sea View Hotel.  Kind-hearted James and Hotel Owner Ernest are friends who are discussing Ernest’s predicament of feeling trapped within his mundane routine. An ‘Unrest Cure’ is the amusing solution suggested, but it is soon passed off as nonsense.

Unbeknownst to them, their conversation is overheard by mischievous brother and sister pairing, Virginia and Charlie, who take it upon themselves to administer this plan to further their own amusement. What follows is a series of wonderfully setup trials- planned and unplanned- that collectively make this play a wonderful comic collection of misunderstandings and delicious play-on-words.

In the style of Wodehouse, the characters are good yet eccentric personas, which each carry endearing and funny traits. Ernest and Cecilia can be looked upon as the stuck-in-a-rut self-created victims, who innocently succumb to the tricksters, Virginia and Charlie. The latter characters have a warm-hearted concern at the heart of their enjoyment and their jubilant personas add great energy. James works brilliantly as the hard-done-by accomplice, who tells animated stories of past missions. Edward’s presence provides laugh-out-loud brutal honesty, which is in stark contrast to his obsession with war.

A varied and professional cast bring the light-hearted quips to life and engage the audience with thoughtfully-crafted characters. Time well spent. I find that ‘delicate’ acting always requires special praise, and that praise must go to the whole cast for maintaining truth of feeling- a considerable feat under the pressure of close proximity to the audience. Some notable beautiful moments include Virginia’s simple yet expressive marvelling of James’ love (mesmerising), the utter misery of Ernest and comic pathos of Cecila are keenly felt and yet hopelessly funny. We are also treated to a very accomplished piano solo, enhancing the mood of the scene to genuine glamour.

I feel unrest considering the fact that Simon and Rob have a new project in the pipeline, and all we can do is wait until we hear more.

Pentameters Theatre
28 Heath Street
Entrance Oriel Place
Hampstead
London NW3 6TE

Telephone 020 7435 3648
Email theatre@pentameters.co.uk
Box Office Bookings 020 7435 3648

NewsRevue began way back in 1979 at The Gate, Notting Hill, and has now become a permanent fixture at The Canal Cafe Theatre, Maida Vale.

The show satirises the latest news events, and claims to be the longest running revue of its’ kind. By constantly updating material from a variety of innovative writers, and changing the cast and director every six weeks to keep  it feeling fresh and in the moment, it has created a cult following.

Nothing escapes the revue’s judgement. There is a mash-up of the songs from the musical Grease, - about Greece’s debt crises, and some clever new lyrics about the death of Michael Jackson to the tune of Don’t Blame It On The Boogie. The show has the audience in hysterics with a mockery of Boris Johnson as the super-hero defender of the capitol, and also pokes fun at the protestors at St. Paul’s Cathedral.

As is always the risk with new writing, some things work and some don’t. This time it was too reliant on musical numbers, and lacked ground breaking original sketches. However it is often funnier and a lot less smugger than its broadcast equivalent Have I Got News For You. Also it has something that News For You hasn’t – great acting and musical talent. It is a fast paced show that requires strong ensemble work and great versatility. The current cast of Grace Bishop, Gary Jerry, Charlotte Bradford and Ben Keenan have this in abundance, and play a multitude of accents and characters. It’s all very impressive, and a great reminder of the raw talent out there.

NewsRevue is a must for anyone who wants to spend a very reasonably priced night out in a cosy venue with a giggle and a pint.

 

OLIVER VALENTINE                                                                       Theatre Box  Office:  020 7289 6054

Gyles Brandreth is everywhere, whether on television as a reporter for The One Show, on radio in Just a Minute, in the bookshops as royal biographer, children’s writer or author of The Oscar Wilde Murder Mysteries and his latest memoirs Something Sensational to Read in the Train, not to mention his after-dinner speaking.

Now, to top it all, this former MP and Lord Commissioner of the Treasury is on the road, touring the country with the solo show he launched at last year’s Edinburgh Fringe.

And I can’t get enough of him.

As a raconteur he is second to none, the consummate storyteller who hardly draws breath as he relates his encounters with the famous, liberally sprinkling his quick fire delivery with a myriad of excellent impersonations, from Prince Charles to Winston Churchill and John Gielgud to John Prescott.

His anecdotes are legendary, not least because he is so deliciously indiscreet, though so engaging he can be forgiven anything. I love the stories he tells of sharing the royal box with the Queen and Prince Philip during a Royal Variety Performance featuring The Full Monty; the time he shared a lift with Michael Jackson and a green room with Tony Blair, and his observations of his early days as a Member of Parliament rival those of Alan Ayckbourn.

I used to think he must have the best agent ever to have so much exposure but, having met him, I can see it’s because of his sheer enthusiasm for life, his motivation and a lively brain. The phrase joie de vivre was invented with him in mind – and it’s certainly infectious.

Then there are his links with the theatre: the creator of a musical about musicals and the author of a play about Lewis Carroll, next month he can be seen at the Riverside Studios in Hammersmith as Lady Bracknell, no less, in a musical version of The Importance of Being Earnest.

This man can do anything!

The One to One Show was at Norden Farm on 12 November and continues on:

19 November: Gala, Durham

20 November: Assembly Rooms, Derby

25 November: Theatre Royal, Lincoln

26 November: Town Hall, Cheltenham

The Importance of Being Earnest is at the Riverside Studios, Hammersmith runs from 7-31 December

Review by Douglas McFarlane


Whew !

Have you seen Lysistrata ? It's a play that I've seen advertised on the Edinburgh Fringe and selected by many an ambitious artistic team to showcase their talents and win new audiences.  Originally performed in Athens around 2500 years ago Lysistrata persuades the women of Greece to withhold intimacy from their husbands and lovers to force men to negotiate peace. 

Think about that for a minute and imagine how that might be represented on stage. Yes, it's awkward, yes, it's adults only, and yes, it can be embarrassing depending on your company. So choose a close friend who is usually unschockable, and be prepared for a laugh.

As this is a family site, I can't go into much detail, other than to say that it is cringeworthy at times and really funny most of the time. The performers really push it to the limits and their "costumes", if you can call them that, were designed to shock the audience of white haired elderly couples, and groups of students alike. And they all roared with laughter.

It's a polished production with excellent lighting, sound and direction clearly in evidence in this one act play. The flow of the performance was to perfection with just enough one-liners and quick quips to keep it interesting, and each actor commanded your attention from the moment they stepped foot on stage.  Despite their unusual costumes and naughty behaviour, they manage not to cross the line of indecency, somehow. Although that imaginary line we have in our heads, probably changes during the performance.

I would recommend going along, if only to watch a talented team of actors committed to their roles while wearing some of the most hilarious outfits. A personal favourite of mine was the parody of Gerard Butler's '300' performance when "Spartan woman" bounds onto the stage.

Actors Of Dionysys perform this classic at the Rose Theatre, Kingston and will be touring.  Tickets can be purchased using the link below, or visit the official production site.

Ticket site:
https://uk.patronbase.com/_RoseTheatreKingston/Sections/Choose?prod_id=0010&perf_id=7

Production site:
http://www.actorsofdionysus.com/projects/current/lysistrata/

When Anthony Pinnunziato announces that he plans to marry his boyfriend Andrew, to his very loud Italian Brooklyn Catholic family, they are happy to comply as long as all is done in the traditional way. They want the family priest to conduct the service, and the full blessing and attendance of Andrew’s Polish mother.  But unsurprisingly nothing runs as planned, and dramas are inevitable as everyone tries to have  the wedding their way.

Written by Anthony J Wilkinson, My Big Gay Italian Wedding was a word-of-mouth off-Broadway hit, and it returns to The Stag after a rave reviews at the Edinburgh festival this year. Using every gay stereotype possible, the characters are outrageously brash and frequently Panto size. It plays unapologetically for laughs and it get’s them. It’s corny and often totally predictable but wins hands down for entertainment and comic one-liners.

Under Paul Taylor -Mills spot-on direction the piece runs at breakneck speed, and is complemented by Jodie-Lee Wilde’s exuberant choreography. It is extremely well cast, and their brilliant work together is only marred by the repeated pulling focus by a few cast members. Benjamin Vivian-Jones and Robert Hannouch are utterly believable as the happy couple, and Matthew Barksby has a wonderful cartoonish quality as the bitchy Gregorio. Julie Ross plays the Italian mamma to perfection, and Paul Easom is great as the dad. Also his ultra-camp Father Rosalia has to be the funniest characterisations I have seen all year.

My Big Gay Italian Wedding is a must for those who want to escape the winter blues. It is the sort of show that seems designed to have a cult following, and will no doubt have audiences returning over and over again.

OLIVER VALENTINE     

 

www.abovethestag.com   Tel:02089324747