“Christmas may be cancelled!”
Billed as “a theatrical adventure in Covent Garden”, the details of which we’re urged to keep secret so that future participants can experience it unspoiled, Once Upon A Christmas is Look Left Look Right’s contribution to this year’s festive fare, and what an appetising treat it makes. An interactive experience for pairs (although it can be experienced solo as well), the adventure begins at a nondescript address, tucked amongst the shops and bars of this bustling part of London, but it soon becomes clear that there’s more than meets the eye here.
For this is the elf-run headquarters of Pantoland who have been forced to walk amongst humankind in order to avert the biggest crisis of them all – the cancellation of Christmas itself. This has been caused by the shocking break-up of Cinderella and Prince Charming and the only people that can -help – well, you’ve guessed it, it’s you and your friend. And so begins a helter-skelter journey of one-on-one encounters through the nooks and crannies of Covent Garden – some considerably more salubrious than others – accompanied by some extremely familiar faces, although they might not always act exactly as you might expect.
It is a hugely charming enterprise and its fast-flowing nature – as you’re gently moved on from pillar to post to pumpkin – means that it is akin to tumbling into a winter Wonderland. A cast of eighteen excellently facilitate the journey constructed by writers Morgan Lloyd Malcolm and Katie Lyons and they offer an amusingly modern take on fairytale life – a bit of vicious gossip and tweeting here, some heartbroken necking of shots there, a wickedly amusing barrow-boy monk giving excellent banter. The show envelops you in its tinsel-clad embrace from the off and though the happy ending might never really seem in doubt, why on earth would you want it to be?
Those in search of earth-shattering drama or life-changing experience might need to recalibrate their expectations for a warm-hearted daftness in what is in store here and Once Upon A Christmas is all the stronger for it. Director Mimi Poskitt has marshalled her resources excellently, there’s some genuinely striking moments of acting alongside some excellent people management – Brandy Butter definitely wins the prize here – and that it all takes place in plain sight in so public an arena lends a marvellous sense of complicity to the whole affair, weaving it seamlessly into the fabric of the long-established entertainment in the square. Great fun.
Running time: 70 minutes (without interval)
Booking until 15th December
The latest set of short films that have crossed my path.
I haven’t covered any animated films before, but the voice cast for Cooked was just too irresistible, featuring as it does Katherine Parkinson, Stephen Mangan and David Morrissey. And I’m glad I did as this tale of an everyday love triangle between a walrus, a lobster and a seal by German animators Jens & Anna is just adorable. My limited experience in the field makes the comparison with Aardman’s work a little lazy but it really does have some of the same fresh and quirky sense of humour about it and visually it looks really impressive, using a variety of techniques to create something that feels nicely different. At barely six minutes long, you should definitely give this a watch. Continue reading “Short Film Review #11”
“What is there more?”
The Kitchen was one of Arnold Wesker’s first plays and follows on from the Royal Court’s well-received (if not by me) Chicken Soup with Barley in a year which has been something of a revival for Wesker. Written in 1959 and inspired by his own experiences of working in the catering industry, it is set in 1957 in the basement kitchen of a large London restaurant, the Tivoli. The dynamics of a swirling multi-cultural mass of chefs, waitresses and kitchen porters are exposed as they slowly build to the mad rush of a huge lunchtime service. Playing in the Olivier at the National Theatre, this was a late preview performance.
Director Bijan Sheibani has assembled a cast of 30 who rush about Giles Cadle’s circular kitchen set with increasing fervour as prep turns into service and the banter with all its personal enmities, tribal groupings and rivalries between kitchen staff and dining-room staff becomes increasingly fraught, and of course largely forgotten as the rush passes and the calm of the afternoon allows for a more reflective atmosphere. The less intense evening service provides a final act is no less dramatic though as slow burning stories finally explode. Continue reading “Review: The Kitchen, National Theatre”