Arrows and Traps hit the mark once more with the deeply moving The White Rose at the Brockley Jack Theatre
“Wollt ihr den totalen Krieg? Wollt ihr ihn, wenn nötig, totaler und radikaler, als wir ihn uns heute überhaupt erst vorstellen können?”*
How do we make the choice to resist? At what point do we decide that enough is enough in the creeping erosion of our democracy? When former foreign secretaries rip up ministerial codes or chief whips ignore Commons voting conventions? When presidents attack their own FBI and defend despots? Some 250,000 bodies may have thronged the streets of London last week to register their disapproval of the US Commander in Chief but what happens when the ‘other side’ has won, when the act of peaceful protest becomes civil disobedience.
It is into such a world that The White Rose throws us. It is 1943 and having insinuated their way into every level of German society and instituted a systemic indoctrination of much of the population, the Nazis have been in power for a decade. But the tectonic shifts of World War II have finally started to fall in the Allies’ favour and finding safety in like-minded numbers, students of the University of Munich have coalesced into an underground movement, publishing anti-Nazi leaflets and distributing them across the Fatherland. Could such amazing courage go unpunished? Continue reading “Review: The White Rose, Brockley Jack”
Arrows & Traps Theatre announce The White Rose: The Story of Sophie Scholl as their new production, along with full casting
Seven-time Off West End Award Nominated Arrows & Traps Theatre have announced their return to the Brockley Jack Theatre after their sold-out run of Chekhov’s Three Sisters earlier this year. There, they will present The White Rose: The Story of Sophie Scholl, written & directed by Ross McGregor.
Based on a true story, The White Rose recounts the final days of Sophie Scholl, a 21-year-old student, who led the only major act of German civil disobedience during the Second World War. Sophie, along with her brother Hans, published underground anti-Nazi leaflets calling for the peaceful overthrow of Hitler. Continue reading “Casting for Arrows & Traps’ The White Rose announced”
The ever-inventive Arrows and Traps company return to the Brockley Jack Theatre with a beautifully acted interpretation of Chekhov’s Three Sisters
“We know too much”
Now in their fifth year, Arrows and Traps have been building quite the reputation as a shining example of how to do fringe theatre. Cultivating relationships with theatres (they’re once more at the Brockley Jack) and creatives (beyond notions of repertory, it is pleasing to see familiar names pop up in production after production and not just as actors) and above all, producing theatre that people want to see.
And Chekhov’s Three Sisters, presented here in a new version by Ross McGregor, continues that strong tradition, paring back the starch to locate a real emotional directness to the trials of the Prozorov sisters. Trapped in the cultural desert of the provinces, far from the beloved Moscow of their childhood, the rise and fall of their hopes and dreams are traced over four crucial years. Continue reading “Review: Three Sisters, Brockley Jack”
“O god that men should put an enemy in their mouths to steal away their brains”
Playing in rep with Twelfth Night at Highgate’s Upstairs at the Gatehouse theatre, Arrows and Traps’ Othello sees them take a slightly different approach to the tragedy, one which is closer to the way in which they reimagined Macbeth earlier this year. Modernised and musicalised, Will Pinchin’s movement plays a key role in the elegant tenor of Ross McGregor’s visually stimulating production.
Much less of an ensemble show than Twelfth Night, Othello offers an interesting contrast in featuring leading performances, even if they are somewhat uneven. Spencer Lee Osborne’s Othello is fascinatingly insecure which offers a route into his emotional journey, if not quite convincing that he could ever become a general. And Pippa Caddick’s Desdemona responds well to this intensity, playing up her innocence but never cloyingly so. Continue reading “Review: Othello, Upstairs at the Gatehouse”
“If music be the food of love then play on”
It may be music that feeds love according to Shakespeare but it is lust that drives Arrow and Traps’ interesting production of Twelfth Night, playing in rep with Othello at the Upstairs at the Gatehouse Theatre in Highgate. Sebastian and Antonio have been shagging for three months, Feste is pining for Maria, Olivia’s loins are thrustingly on fire for Cesario, Orsino and Cesario all but do it on the bed and on the floor – what country friends is this? Well it’s a most libidinous Illyria.
Ross McGregor’s production thus puts sex firmly on the table, a bold move and one which pays off in the first half, upping the stakes in familiar relationships and teasing insights into lesser explored ones. So whilst it is no surprise that Olivia and Orsino want to get laid, it’s good to see it acknowledged so explicitly for once. But it’s also intriguing to see the depth of Malvolio’s feelings for Olivia as shown here and to consider the dynamics of a homosexual relationship between Sebastian and Antonio. Continue reading “Review: Twelfth Night, Upstairs at the Gatehouse”
“Who could refrain that had a heart to love”
Theatre company Arrows & Traps came belatedly onto my radar with their rather stunning rendition of Anna Karenina earlier this year so I was keen to check out what they’d do next, which turned out to be Macbeth in the similar black box space of the New Wimbledon’s Studio. Adapted and directed by Ross McGregor, this modern Macbeth continually builds on its interesting choices to deliver a final 10 minute sequence that is as achingly affecting as any version of the play I’ve ever seen.
And they are strong choices for the most part too. Arrows & Traps’ commitment to gender equality sees them offer up a company that has 6 women to 5 men, casually flipping Duncan (Jean Apps) and Banquo (an excellently badass Becky Black) into female roles and having the witches double up as murderers and soldiers. In some ways its a small thing but in others, it still feels radical; as pointed out, majority-female fight scenes as those seen here are few and far between. Continue reading “Review: Macbeth, New Wimbledon Studio”