SOPHIE CUNDALL discusses theatre, intimacy, and the virtual stage. TW: sexual assault. Theatre requires intimacy. Theatre is intimacy. By definition, theatre is intimate. Whether it is our closeness to the stage, to the other audience members, or in more abstract terms, to the story and the characters we see depicted before us: intimacy makes theatre. In the theatres above pubs, in nightclubs and in Edinburgh venues, there are barely two metres between the door and the stage. This is where the best theatre happens – on beer-soaked floors that stick to your shoes, on slightly uncomfortable chairs where you are as close to strangers as you are on the Victoria Line at 8:30 am. Costumes often consist of leggings and a block coloured t-shirt. Maybe some white trainers; they are not necessary in theatre where the execution of the plot carries the play and its audience. The lights are minimal,…Continue Reading

Performance in a Pandemic

SOPHIE CUNDALL interviews the director and producer of the upcoming production of A Clockwork Orange at the Bloomsbury Theatre. Since March last year, Srishti Chakraborty (Director) and Tanya Dudnikova (Producer) and their production team have been working on Drama society’s collaborative second term show with the help of film society: A Clockwork Orange. I sat down with the pair to have a chat about the project, one of drama society’s most modern and radical choices to date. Why A Clockwork Orange? [S] I took the Utopias and Dystopias module in second year, and was initially keen to bid A Brave New World, but the play written on it is…bad. Instead, I chose Clockwork Orange which I’ve studied a lot, and we took the play that was written by Antony Burgess in response to Kubrick’s film which he didn’t like. We’ve actually rewritten a lot of the script! Basically, we really wanted…Continue Reading

A Clockwork Orange Interview

SOPHIE CUNDALL reviews Christopher Brett Bailey’s This Is How We Die at Ovalhouse. This Is How We Die (and you very nearly do). It is not often you leave a show feeling physically sick. It is even rarer that this can be considered a positive outcome. Christopher Brett Bailey’s This Is How We Die, however, achieves just this. In this piece that is driven entirely by language and voice acting, ’the tongue is a weapon, it is a whip,’you are certainly injured by the time you stumble out of the pitch dark finale. Cathartic is not a strong enough term. Performed by Bailey himself, perched on the edge of the vast hole left by the seminal play We Dig, the show punches you in the face as Bailey spits out words so fast that sometimes you wonder if he’s switched into the post-apocalyptic language of A Clockwork Orange. You laugh,…Continue Reading

This Is How We Die.

SOPHIE CUNDALL reviews Pandora’s Door’s ‘Zeus on the Loose’ at Fire, Vauxhall. This article contains references to racism, homophobia and ableism. Selling itself as a filthy, queer celebration-box of assorted cabaret acts and pulsing basslines, Zeus on the Loose sounds like a promising romp through the lands of Ancient Greece and the palace of the gods. The reality, however, in a grotty room under the pulsing lights of Fire, a nightclub in Vauxhall, doesn’t quite live up to the hype. There are some undeniably funny moments, and some impressive contortions of both bodies in hoops and of vocal chords, but as whole, the show falls flat. Unfortunately, some aspects stray towards being downright offensive. The performers’ clearly high level of skill, doesn’t quite rescue it from leaving a rather bitter taste by the end. The show and performers’ discipline is perhaps the root of some of the clunkier elements of…Continue Reading

Zeus on the Loose