Review: 'The Diary of Anne Frank'

by Laura Stratford.

Before reading our review listen to our interview with Amy Dawson (Anne Frank) in YorWorld here.

The Diary of Anne Frank, brought to us by York Theatre Royal in conjunction with the Touring Consortium Theatre Company, is in the last week of its run in York before it embarks on a UK wide tour. After going to the Press Night last week, it was clear to see that the production already had a buzz about it; and deservedly so, because this is a production that delicately and powerfully translates two years of Anne Frank’s charted life to the stage.

The stage alone is artistically set. Along the front of the stage, books can be seen jammed together beneath the wooden floor boards, which are slowly dampened by the sprinkle of rain water. A couple of beds, tables and chairs sit on the main stage, Anne’s writing desk stands in the front right corner and a bicycle and bookshelf hang suspended from the ceiling. Already, the audience gets a feel of the damp, dreary and confined attic space; setting the tone well for the Opening Act.

Lights fade, a clock chimes and the voice-over of Anne’s diary can be heard whilst the hustle and bustle of Anne’s family and friends arrive in 1942. Amy Dawson plays the part of Anne Frank with a veil of authentic adolescence, capturing very well the hyperactive, playful and immature character. Victoria Ross’s portrayal of Margot, Anne’s polar-opposite ‘perfect’ sister, convincingly conveys her well-behaved and demure character. Steven Pinder and Sarah Ingram are paired together well as Mr and Mrs Van Daan, the selfish couple, clinging on to their material possessions; Robert Galas, who takes the role of Peter Van Daan, embodies well their 16 year old son, torn between his parents’ quarrels and Anne’s affections. Otto Frank, played by Christopher Timothy, try to keep the group, as well his wife, Edith (Kerry Peers), safe and sane within the small space. Credit also has to be given to Dominic Gately who plays Mr Dussell, the dentist who seeks hiding in their company. He poignantly gives light to the horrid reality taking place outside the attic space, but lightens the mood with his humorous child-like and socially awkward nature.

By the Second Act, it’s 1944, and it remains a survival of the fittest where the tension builds and builds. In the opening scene, we see Mr Dussell pulling out a tooth from Mrs Van Daan’s mouth. At first, it’s a seemingly trivial detail, but we soon realise that this is only the beginning in terms of the indescribable pain that await them all in the concentration camps. Throughout the play, the whole cast remain on stage, sitting on a bench on each side if they’re not in the main scene. In the Second Act, we see a German Officer waiting on the bench; a clever way of keeping us on our toes. In addition to that, there are other touching moments, such as Peter and Anne’s first kiss and the sharing of strawberries between the two families, the last riches they experience before the arrival of the Nazi who comes to evict them.

It’s no surprise that most people would avoid seeing this production as it reminds us of the painful reality of the Holocaust. However, this production carefully and professionally deals with the tragic story, leaving the audience to come away reflecting on it and the injustice that continues to happen today. Yes, it’s not your most cheery production, but it contains some impressive performances from the cast who are bound together and led with integrity by director, Nikolai Foster.

You can see ‘Diary of Anne Frank’ at York Theatre Royal until Saturday 3rd March. See online to book tickets, and catch the audio review of the production here on the ((URY PLAYER)) now!

Women: Woman's Quarter

Janey Stephenson's series looking at issues effecting women in York, the United Kingdom and the world through fascinating features and in depth debates. And the first two episodes are available now on the ((URY PLAYER)).

Episode 1

Why do some female students choose jobs where they are being paid for their body image rather than intellect? Exploring the objectification and stigma around scantily-clad work in the entertainment industry. Janey is joined by a podium dancer and a club hostess, and two women who would never consider these jobs.

You can catch the programme on demand here.

Episode 2

Currently, an estimated 32,000 girls are at risk of Female Genital Mutilation in the UK. Why, in the 21st century, is this extreme violence against women still happening? Janey is joined by Asiya Elgady of FORWARD, an agency working to stop this practice.

You can catch the programme on demand here.

And keep listening live to the show, Sundays at 3, as part of 'The Sunday Roast'!

Review: 'Posh'

by Alex Boyall, 

Before reading our review catch our preview of the production on the ((URY PLAYER)) here!

The satirically up-to-date Posh, written by Sheffield playwright Laura Wade, is a dramatisation of the antics of the infamous Bullingdon Club members (renamed the Riot Club here) - a socially exclusive student dining club at Oxford University, notorious for its members' wealth and destructive binges.

As we enter the barn, we are presented with two armchairs facing us, one occupied by the ex-Riot Club member, now Tory MP Jeremy (Mungo Tatton-Brown). As the play starts the other is taken by his godson Guy Bellingfield (Louis Lunts), and they immediately set the tone for the rest of the play, mocking comprehensive schools, foreigners, and the lower classes; whilst Jeremy reminiscies and joking about how much more reckless and enterprising the Riot Club was when Jeremy was a member. Though a comparatively small role, Tatton-Brown plays his age and character well, providing a strong springboard for the rest of the production.

A simple transition to the main tableaux - a function room at the Bull's Head pub - then occurs. We are introduced slightly shakily to each Riot Club member one by one, nevertheless once all 10 are seated the dynamic changes and each actor relaxes into their respective characters. We soon realise that these boys born into privilege believe that they are far superior to everyone else and consequentially treat them like dirt.

Chris (John Askew), who does well in the role of the contrastingly common landlord of the pub, manages to unintentionally incur the wrath of several members of the club through a series of errors, putting him, along with his daughter Rachel (Anna Thirkettle), on an irreversible path to the climactic final scene.

The internal politics of the group are clear to see throughout the show - three younger members - Lunts, along with Alistair Ryle (Nick Armfield), and Dimitri Mitropoulos (Connor Abbott) - are scrapping for dominance and the vote of the other members to take over the position of the ailing and indecisive president of the club, James Leighton-Masters (Fergus Nolan). A spirited mid-show appearance by Charlie the call girl (Maria Terry), hired by Harry Villiers (Lewis Chandler) to pleasure his fellow members under the table as they ate, gave us a welcome respite, lifted the time spent solely concentrated on the 10 Riot Club members, and gave us a taste of the darker material yet to come in the play.

The two freeze-frames at the end of the first act and beginning of the second were well constructed, and left the actors in positions reminiscent of Da Vinci’s The Last Supper, with the central revolutionary Armfield positioned dead-centre, the Christ-like saviour to the club’s other members.

Despite several vivid performances from the cast including Abbott, and Ryan Hall as Hugo Fraser-Tyrwhitt - who delivered a well-timed, comically altered poetic opening to Shakespeare's King Henry V - a few stepped on and forgotten lines during the long dining scenes meant that some of the forward momentum was lost. However, I think that was more down to first-night nerves than any real failure on the part of the actors.

Whilst not wishing to reveal the ending of the play, the powerful and tense final scene was well crafted by the directors, with the emotion of the moment showing well in all the actors present, especially the impassioned pleas for mercy from Armfield.

Hear the full audio review on YorWorld on the ((URY PLAYER)) here!

YorWorld: 26th February 2012

The Yeoman of the Guard
York Gilbert and Sullivan Society

On YorWorld this week we previewed York's Gilbert and Sullivan Society's production of 'The Yeoman of the Guard', the opera which was originally set in the Tower of London during the 16th century has been reimagined by York students into a Second World War setting.

We will also be reviewing YUSU Drama Society's 'Posh' and York Theatre Royal's production of the 'Diary of Anne Frank' as well as finding out more about the Norman Rea Gallery's latest exhibition 'Grand Declines'.

If that wasn't enough we'll also be chatting to the creators of YSTV's brand new sitcom 'Humble Pie' and Tess Humphrey, writer and director of ((University Radio York))'s national award winning URY Drama 'The Prince of Humberside about her latest film; 'The Famous Darcy Whitaker'.

Catch the programme now on the ((URY PLAYER)) now!

Review: 'As Thyself'

By Kat Ronson,

Before reading our review catch our preview of the production on the ((URY PLAYER)) here now!

The first thing to note about this play is that I was completely immersed in every word from beginning to end. The set was very sparse and simple, with writer and director Isla Van Tricht choosing to keep the Barn a black box. There were little props involved and chairs were used to change the scenes. There was partial use of the sides of the Barn, as we were sat in thrust seating whilst the rest of the audience faced the actors. The set was extremely simple and perhaps a little bland; however this totally contrasted the writing.

This play was incredibly well-written and the concept was beautifully innovative. Based around three main characters; A, B and C, we are taken through their past experiences with 1, 2, 3 and 4 portraying some of their stories. This included some direct participation with the audience and even had some characters sitting next to us. Every cast member was brilliant, especially Ryan Hall. He portrayed C to be a wonderfully eccentric professor-type and he helped break the fourth wall. A particular moment of brilliance was when he analysed the relationship between 3 and 4 - comic genius.  1 and 2 were played by Lorrel Chakelian and Qaisar Siddiqui, who were performing a movement piece along to the Beatle’s track Blackbird. The juxtaposition of this gentle song with the aggressive beatings was totally captivating. It should also be noted that they were so carefully and realistically portrayed that I had to stop myself from cowering behind the person next to me. The movement slowly morphed into beautifully soft, bird-like gestures; expertly choreographed by Gabrielle Holcroft. 3 and 4 (Edd Riley and Harriet Cox) contrasted this with some light-hearted comic moments which gave the audience a much needed sigh of relief. My only disappointment was that these two actors were not involved more, their comic timing was excellent and having interaction between characters contrasted the long monologues of A, B and C.

The production as a whole was totally slick and well –rehearsed, which shone through every minute of the performance. However, the staging of the play was slightly less innovative than the writing. Van Tricht did tend to re-use the same techniques, such as characters speaking in unison, but the short length of the play meant this was less of an issue. Nevertheless, the play had different tones throughout; a triumph considering the little interaction between characters, a sparse set and non-descript settings of scenes.

This play makes you look at your own experiences; some funny and some extremely dark. Isla Van Tricht has an exceptional talent for writing. The play was short, but the rollercoaster you experience in those forty minutes is extraordinary. All of the performances were sensitive and entrancing, the choreography harrowing yet beautiful and the production on a whole completely fascinating.  I wanted more.

Hear our full audio review now on YorWorld on the ((URY PLAYER))!

Review : 'The Spaghetti Western Orchestra'

by Laura Stratford, 

Before reading our review why not hear our interview with performer and creator of 'The Spaghetti Western Orchestra' on the ((URY PLAYER)) here now! 

The Spaghetti Western Orchestra, currently on their UK tour, stormed the Grand Opera House the other night and took the good people of York into some ‘serious sonic territory’.

You know as soon as the show starts that you’re going to be taken on a journey. Lights fade. Darkness on stage. A raucous Texas accent whispers ‘Once upon a time in the West’. We’re told they’re looking for a Bob Robertson. That’s a gentleman called Mr...Bob Robertson. The rousing ‘Fistful of Dollars’ medley is then played out. If you don’t know what that is, look them up on YouTube.

The Gold-Schmeller, Lieteller, Bankteller, Youngfeller and Storyteller are all from Australia, musicians and actors with diverse backgrounds that are passionate about the Spaghetti Western genre. When interviewing Patrick Conin recently for YorWorld, he commented on how it was natural in Australia for eclectic and musical collaborations to take place, which comes through in their performance. They take foley artistry to the next level, creating bar hubub with beer bottles, footsteps with crushed cornflakes and falling dead birds with marigold gloves. A highlight had to be the moment when the Bankteller plays the ‘theremin’ in ‘Once upon a time in the West’, a cracker of an instrument that involves metal antennae and no physical contact.

As well as the unpredictable source of instruments, there’s an entertaining mélange of improvisation, farce, grunting, synchronised choreography and audience participation. I won’t spill all the details, but there’s a surprise encore which involves the crushing of a lettuce. Out of the blue and hilarious at the same time. To give you an idea of how much the audience enjoyed it, everyone started stamping their feet on the floor when applauding the quintet. The last time I saw that happen was at my school teachers’ pantomime.

The Spaghetti Western Orchestra will be performing in Leeds Town Hall this Saturday. An uplifting way to start a night out. See http://www.spaghettiwesternorchestra.com/ for more details!

YorWorld: 19th February 2012

Chris Ramsey, Fosters award nominated stand up, joins us on the show to talk ‘8 out of 10 Cats’, how he feels about hecklers, and life as a professional comedian ahead of his appearance at the ‘Hyena Comedy Club’ in York on the 18^th of March.

We also preview next weeks Dramasoc Production ‘Posh’ which was first staged at the Royal Court Theatre downstairs in 2010. The play is set in an Oxford student dining club called "The Riot Club" which represents a fictionalised version of the Bullingdon Club to portray the upper echelons of  society.

Our reviewers Alex Boyall and Kat Ronson turn their critical eye to this weeks Dramasoc production  ‘As Thyself’. This post-dramatic style play centres on three characters whose story unravels through anecdotes, memories, poetry, dance and more. A, B and C, with the help of 1, 2, 3 and 4, explore what makes up identity, the inner turmoil between loving and hating yourself, how memories shape you, the context of this generation and how everyday life is a performance. Dramasoc promised parts to make you laugh, to make you cry, to make you uncomfortable, and to make you think. Find out if the production lived up to expectations!

We also previewed this Mondays Open Drama Night which is an ambitious production of  the hit musical ‘Avenue Q’ addressing and satirizing the issues and anxieties associated with entering adulthood through puppets!

Catch the show now on the ((URY PLAYER)) here!

Review: 'Twelfth Night'

By Kat Ronson,

Before you read our review, check out our preview of the production on the ((URY PLAYER)) here.

The barn was in very good order for this production with a clean set clearly divided into three different locations. There was a simple but very effective use of the stage, with carefully selected greenery and simple pieces of furniture to symbolise interior and exterior settings. There were however, a few parts of the play where our views were obstructed; due to some parts of the stage being used more frequently than others.

As with all Shakespearean texts, let alone one as popular as Twelfth Night, there are always high expectations. Such expectations make it difficult for a director to make striking or risky decisions. However, director Cat Gobert-Jones, made some inventive but sensitive choices.  She chose to have Feste played by a girl, the priest and Curio to be played by the same actor and set the play in WWI to name just a few.  Handling of such choices made it clear that Gobert-Jones had a very strong understanding and genuine passion for the text.

In recent Drama Barn productions the acting has been phenomenal and Twelfth Night is no exception. Helen Peatfield played a highly entertaining Olivia, characterising her as obnoxious and spoilt .Her exchanges with other characters were faultless and she was surprisingly natural when addressing the audience directly.  Toby King and Richard Spears were a fantastic double act as Sir Toby and Sir Andrew, injecting pace with their exchanges. Their performances were physically demanding, yet their energy never faltered. Malvolio, played by Peter Marshall, had great comic appearances; his unrequited love for Olivia provided many of the laughs for the production. Laura Griffin’s Feste was also a joy to watch, with her singing providing an incredibly refreshing soundtrack for the performance. At one point, however, Griffin did have a weak moment. Whilst performing a solo dance and monologue simultaneously, she looked very uncomfortable, making her performance less fluid. For the most part however, the production was brilliantly cast and the execution of each character was excellent.

The technical aspect of this production was less inspiring but nonetheless effective. It is refreshing to see direction that does not feel the need to drown the stage in music, lights and costume. The lighting system was mainly a simple wash. However, there was the occasional use of red and blue lighting, though there could have been a more distinct purpose for this. Spotlights were used to highlight important speeches or letters; an innovative touch that further drew the comedy out of the performance.

My main regret with this production was there were very similar tones throughout; I would have liked to see a few changes in direction to keep the energy at peak. Gobert-Jones was selective over the jokes she chose to highlight from the text, which meant there was less reliance on slapstick or less sophisticated humour. Nevertheless, the comical parts were very well executed and all worked beautifully. Overall, Gobert-Jones provides a very eloquent understanding of the text that shone through most aspects of the production. A treat for Shakespeare lovers.

And you can hear Kat and Tom Bonnington's full audio review now on the ((URY PLAYER)) here!

Review: Cloud 9

By Hana Teraie-Wood

Before reading our review check out our preview of the production on the ((URY PLAYER)) here!

Cloud 9 is the first completely student run effort from TFTV, and what a triumph it was. Clever, nuanced, delightful and tragic, this production matched all of the best traits of Caryl Churchill’s script to take it beyond the level of a “student play”. For the first time I couldn’t feel the weeks of effort from cast and crew, because the calibre of the performances made it feel effortless.

Casting choices were impeccable. The real treat was Tom Giles’s performance as Betty. As the tallest and slenderest male of the cast, his clumsy effeminate manoeuvres such as hugging a (shorter) Steven Jerram from behind elicited much unaffected laughter from the audience. This succeeded in communicating Churchill’s reflection on the inherently funny role of women in society, a matter only made explicit when we see its characteristics enacted by a male. What is more ridiculous, a man playing a woman or a woman playing this role on a daily basis? This well acknowledged insight into Victorian social constructs is not ground-breaking stuff, which allows the first act to be kept light-hearted whilst it makes its socio-political mockeries. The intermitting sing-a-longs sung by all the cast helped add to the joyous satire of the first half, with the samba influenced tracks by Bengee Gibson creating an exotic spatial distance between the colonial setting and our contemporary habitation.

In a trademark Churchill style, this distance is closed down by actors playing two or more parts. Steven Jerram’s switch from Clive to Edward suggested a causality between Clive’s patriarchal dominancy and Edward’s sexual oppression. Jerram’s switch from a character of overbearing forcefulness to one of conscientiousness and sensitivity was incredible, both were acted convincingly and neither bore a trace of the other. Out of her three roles, Emma Henderson’s portrayal of Betty was the standout performance; her monologue alone onstage was incredibly touching, revealing her loneliness and sexual suppression shared by her younger self from the first act. This connection was one of the many made with aid of the large projections made at the back of the stage, as videos of characters from the first half ‘spoke’ to the characters of the second half. This was particularly poignant when Clive, who wants to change his sex, is revisited by the younger Edward (Flora Ofilvy), visually projecting his inner self who is by nature a woman.

These choice of doublings have, from what I perceive, been altered from the original. If this is proved accurate, the team behind this TFTV production have done incredibly well to create articulate and insightful connections not explicit in Caryl Churchill’s script. Cathy’s (Rory Hern) doubling as the Soldier killed in Afghanistan gave the play a contemporary edge as well as a foreboding subtext. The child, who plays with a toy gun, holds a real gun in Act One when playing Joshua and is killed as the dead Soldier by another gun in Act Two. From a production that made use of very few props, the moment when Cathy plays on the swing stays imprinted in the mind as a reminder of the child’s innocence which through Hern’s other characters is corrupted and lost. With an unusual level of clarity and skill, these students delivered a play with a confidence and ability that puts them a cut above the rest.

And you can hear Hana's full audio review of the production as well as our other reviews and previews in 'YorWorld' on the ((URY PLAYER)) here now!

YorWorld: 12th February 2012

From Spaghetti westerns to ‘Painterly Effluvia’, YorWorld this week was packed with reviews, previews, and interviews form across York’s artistic and cultural spectrum.

On the show this week Laura Stratford speaks to Patrick Cronin, founder and ‘Storyteller’ in the ‘Spaghetti Western Orchestra’, an incredible ensemble performing the spine tingling music of Ennio Morricone who are coming to York’s ‘Grand Opera House’.

We’ve also got our indepth audio reviews of Central Hall Musical Society’s annual musical spectacular which this year was Stephen Sondheim and James Lapine’s ‘Into the Woods’. We’ll examine whether the performers, musicians and directors can pull off this challenging piece of  musical theatre.

Hana Teraie-Wood reviews the first ever independent Theatre Film and Television Student production, which was ‘Cloud 9’ by Caryl Churchill's which has been described as one of her best known and funniest plays. Did they pull it off?

We also review this weeks Dramasoc production of William Shakespeare’s ‘Twelfth Night’ which is running until Sunday the 12lth in the Dramabarn. Kat Ronson and Tom Bonnington tell us whether they think this is a production that will have you rolling in the isles or perhaps an updating of a play which is simply very hard for modern directors to get to grips with.

If that wasn’t enough Amelia Watts also takes a look at the student run Norman Rea gallery’s latest exhibition ‘Painterly Effluvia’ to give you a taste of what the Languith based gallery space has to offer this week.

If that wasn’t enough we also have our much acclaimed performance previews which this week looks at next weeks Dramasoc Production ‘As Thyself’ – a new student written piece – and our preview features dramatic pieces and interviews with the cast and production team to wet your appetite.

We also have exclusive recordings of the cast of ‘Into the Woods’ from CHMS’s latest production.

And that’s all available now on the ((URY PLAYER)) here.

Review: 'Into the Woods'

by Laura Stratford,

Before reading our review have a listen to our preview of the production here.

Let’s be honest, Sondheim isn’t the easiest of composers to perform, with those chromatic scales and nuances in rhythm and harmony. However, Central Hall Musical Society doesn’t fail to please in this impressive production, with a talented cast of singers.

As trivial it may seem, I was very excited to see the large tree that was professed to have been squashed into Central Hall in Alice in Wonderland fashion, but I was disappointed to find pieces of cloth draped over some scaffolding. Nag over, my tree obsession was put aside as soon as the first act begun, where we were introduced by the Narrator to a vast spectrum of well-known fairytale characters; Cinderella, the ugly sisters and stepmother, Red Riding Hood, Jack the Giant Killer and his cow, Milky White, the Baker, the Witch and more. Before we knew it, the cast were belting out the infectious title song, making use of all the space on stage with their catchy choreography.

Whether it was the lack of dramatic lighting from the first instance the cast appear on stage or opening-night nerves, Act One seemed to be the warm-up to Act Two. Nevertheless, it was an exciting one, where we had the chance to relive infamous moments in fairytale history, such as Little Red Riding Hood bumping into the big, bad wolf, and Rapunzel throwing down her golden hair, singing out golden melodies, whilst backlit with a, quite literally, blinding light. Particular mention has to go out to the adorable puppetry of Milky White, the hilarious duo of the charming Princes, the painstakingly repetitive Mystery Man and the terrifying Witch. At the end of Act One, there are so many happily ever afters, you’re tricked into thinking you’ve seen the show, but there’s a whole lot more.

Act Two is, frankly, carnage. Not to give too much of the show away, it becomes a fight for survival as the Giantess threatens to slay anyone in revenge for her husband’s death. It’s ironic how as the plots develops into something more sinister, the harmonies are more and more beautiful, finally giving the talented singers a chance to shine. Highlights were the Baker (Alex Wilson), his wife (Jenny Sterling), the Witch (Emilie Smith), the two Princes (Tristan Landymore & Ali Phillips), Cinderella (Amy Walsh), Red Riding Hood (Bethan Williams), Jack (Louis Lunts) and Mystery Man (Luke de Belder). It’s just a shame that all the cast were miked up, when the strength of their voices didn’t need amplifying, but instead you got the occasional distraction of rustling costume.

Apart from the little technical hinges, this really is a fab production with a very impressive cast behind it. For someone who’s never seen a Sondheim musical before, I was definitely pleasantly surprised, and even more surprised to find myself singing ‘Into The Woods’ on the way home. Beware, that tune’s contagious!

Look out for our full audio review this Sunday at 2 on YorWorld!

YorWorld: 5th February 2011

On this weeks show we take a look at the huge variety of productions that are opening on campus this week as well as York Theater Royal's new production of 'The Diary of Anne Frank', catching up with the shows star. More info about the production can be found on York Theatre Royal's Website here.

We preview Central Hall Musical Society's production of Sondhiems dark fairy tale inspired musical 'Into the Woods' which opens this Thursday in the newly rennovated Central Hall , TFTV's 'Cloud 9'and Dramsoc's production of Shakespeare's 'Twelfth Night'. If that wasn't enough we review last weeks Dramasoc production 'Dorian'.

Discribed as rivaling Radio 4's weekend and daytime speech programme, YorWorld is the weekly magazine show from URY's multi award winning speech team.

You can hear the programme now on the ((URY PLAYER)) here!

Review: 'Dorian'

by Kat Ronson.

Before reading our review of 'Dorian' why not check out our exclusive preview of the production here.

I entered the barn excited as three actors stood in precarious and stylised poses dressed in slick black and white. The set was quite stark and followed the theme of black and white. The audience was immediately drawn to the nine television screens at the back of the stage, which played the dual role of producing backdrops to scenes as well as being the infamous Cathode Narcissus -a truly innovative approach. The play begins with three narrators introducing the characters on stage. Other than this job, I did not see any other use for the narrators and the script was somewhat less innovative than the setting.

The first note of triumph is with Hayley Thompson, who should be commended for her excellent choreography. The movement sequences broke up parts of blocky dialogue and I found myself looking forward to the next bit of choreography. I feel without the arrangements the performance would have fallen flat.  This notion was prevalent in the second act where there was less movement and considerably less use of film, in comparison to the first half which started with vigour and was almost flawless. I would have liked to have seen this creative genius sustained throughout.

This leads me to think that a more distinct direction would have been beneficial. This is reflected in many aspects of the production such as acting style and costume. Many actors seemed to be taking different approaches to the script from farcical, exaggerated portrayals to toned-down, naturalistic performances. The cast worked well individually but did not quite gel as an ensemble. There were three actors dressed in black and white and the rest of the actors were dressed in their character’s costume. Consistency through all the costume would have diminished any confusion and would have amplified the desired effects. A decision needed to be made; stylised black and white or realistic character costumes? The actors in black and white had multi-roles and so a blank canvas seemed apt, but this could be interpreted as their roles having less importance; which is disappointing.

Helena Clark being the only female in a cast of men and having a multi-role part was one of the strongest actors. Her portrayal as Fergus was comical and gave the play a light-hearted lift. Although Clark, in reality is a pretty, petite girl, she portrayed Fergus to be a haggard and grotesque old woman very convincingly; an extremely difficult task with no costume or make-up to help convey her age. A great performance came from Ryan Hall playing Henry Wotton one of the more farcical performances from the cast. He also provided some humour and in the second half showed a vulnerability to the character that was not present at the beginning of the play. He thought about his character’s journey well and this shone through. There were a few awkward interactions between characters. In particular there was a moment when Dorian, played by Connor Abbott, sat on Henry’s knee which looked and felt incredibly uncomfortable.  The comical performances were not the only highlight to the acting; Jonny Glasgow played Basil Hallward as a wonderfully awkward yet passionate artist which was very sensitive and endearing. One of the characters I connected to the most.

Technology was at the forefront of this production, with music, film and lighting used to produce dramatic effect and less reliance on the substantiality of the acting. There were severe technical issues that needed to be addressed, with actors not being lit for whole scenes, sound being too loud or too quiet at times and abrupt finishes to music. Scene transitions were sometimes seamless but mostly messy and were done by the three actors dressed in black and white. There were also many parts of the play where the trio were cramped in a corner of the stage waiting to come to change the scene or to be ‘extras’ in party scenes;  again providing a note of insignificance.

Overall, this is the sort of theatre I would like to see more of in the Barn. Director, James Soldan has pushed boundaries and used technology in remarkable ways.  Adapting the book and directing it himself was a brave and ambitious move. I would have enjoyed his adaptation to have ended the performance on a more dramatic and dark tone than it did. The first half was breathtakingly imaginative but sadly the second half needed a lift. Sometimes the Barn was not the ideal setting that could give this performance and concept the theatrical prowess it deserves. However, anyone who enjoys artistic, creative theatre and wants to see something with a fantastic, dark story should see Dorian.

Catch the full audio review on YorWorld, coming soon to the ((URY PLAYER))