Us/Them

Our first play of the year came a little later than usual but on Tuesday 7th Feb we travelled to the Dorfman at the National Theatre to see 60mins of 'Us/Them'.

My Theatre Mates

A family friendly show about a terror attack - doesn't quite add up when you think about it does it? But the more you do, the more you realise that Carly Wijs' direction might just be genius. All too often when we retell moments of our past, we embellish and adapt - particularly when we are children - my nearly-3-yr-old niece would of course deny this entirely.
But when children witness traumatic events, how much of it sinks in? How much do they let it? Kids are more resilient than we think, but they're also like sponges, they take in the world at a rate that dizzies us as adults. So what if, in a place they all feel safe, like at school, they endure something terrible?

National Theatre

Us/Them is directed in a way that addresses this. As we begin with chalk drawings of the school's layout, a competition of information between our two leads and some essential facts to present the provenance of our piece, we are slowly lulled into a comedic security, brimming with innocence.

However, as the piece unfolds we are pulled ever closer to the truth, the REAL terror attack on these young children on a day that held them captive for 52hrs, killing 184 children and 148 adults. But we never really get there, the truth. The truth remains suspended in the well constructed strings that span the stage amidst a maze of conclusions and childhood storytelling.

The Stage

Our leads are enthusiastic and convincing in their confidence, as well as in their coyness. As they traverse the stage energetically, we are drawn to them even if we never really know much about who they are. Chalk drawings and imaginative commentary provide the basis of the all-too-familiar 'Us and Them' argument, with seemingly no understanding of why 'they' are 'them'  and'we' are 'us' - or of why they are being held hostage in their own school.

As a family show, Us/Them definitely helps broach the subject of death in the family if you don't have a pet that's likely to kick-the-bucket anytime soon. But it's also a fun show that incorporates dance with energy that never really allows for sombreness or pain in a concentrated quantity. It's full of imagination, both in script and staging but it's story holds a truth that makes it as devastating as it is entertaining - that is if you take a moment to Google the Beslan Massacre.

Exeunt Magazine

Read more about the production and the real event here: http://www.independent.co.uk/arts-entertainment/theatre-dance/review-usthem-dorfman-national-theatre-london-the-story-of-beslan-makes-for-a-remarkable-harrowing-a7539296.html

href="https://en.wikipedia.org/wiki/Beslan_school_siege">https://en.wikipedia.org/wiki/Beslan_school_siege

Bear's Den

There's not a lot I can say about these guys other than I absolutely love them. Whilst working at the O2 Arena I heard them warm-up for Mumford & Sons and fell in love with their harmonies. Ever since I've been waiting for the chance to see them again and finally, the day came.

Support act Alex Vargas melted me with his incredible voice - bought his CD as soon as I'd heard his first track. What a talent, can't wait to see where he goes next. He was followed by 'Rukhsana Merrise' who I wasn't convinced by if I'm honest. Her voice sounded a little nasally and I wasn't entirely sure of her lyrics, mainly as there was no diction. But then, I was there for Bear's Den, so it passed the time whilst I was waiting I guess.


And then it came, the music slowly built,

BEAR'S DEN

the audience filtered closer to the stage

BEAR'S DEN

the lights got brighter

and then BOOM -

BEAR'S DEN.

The boys kept true to their spirit, performing a mix of tracks from their first EP 'Islands' and ending on a cover. They stuck to their folky roots and treated us to two acoustic performances, during which - the bar was closed - which shows just how unequivocal their magic is. The first used just a single mic onstage. For the second 'Bad Blood', the boys came out into the crowd and surrounded themselves with their fans - calming the entire of Shepherd's Bush Empire to silence after a stunning crowd participation with 'the clap (no not that kind) and a rendition of 'Agape'. The set even included some epic base distortion 'Sahara' and some sensational horns 'Think of England' and 'Elysium'.

It was impressive to see such a gathering of fans who really knew the music. It always feels great as a fan when you book tickets to a see a band that none of your friends have heard of and you turn up and are surrounded by other people like you, who can sing along to the lyrics with you. The strength of that was obvious in the boy's home-coming gig from their European tour. Even BBC Radio1's Greg James and one of my favourite actors Kris Marshall turned out to see them play - although I didn't want to be that kid that drew attention to them.

Their confidence in their own music and the vibe you get as a fan is just incredible. They are down to earth, charismatic, original, authentic chaps with a love for beautiful music and good lighting design. I can't wait to see where they go next and I think it's pretty safe to say, I'll go there too! Bring on the next album boys!

Find out more about 'Bear's Den' and their magical music here: http://www.bearsdenmusic.co.uk/store/

3 Winters

Sophie Rundle & Jodie McNee - independent

'3 Winters' has endured a barrage of good reviews being considered a 'subtle epic' by TimeOut, but having spent 2hrs 40mins in the theatre, I left just as indifferent as when I arrived. The official National Theatre rating for it was 3 stars, Though I'd knock that back to two.

Siobhan Finneran - lovetheatre.com

Credit where credit's due, Jodie McNee as Alisa was full of energy and kept the audience's attention through opinionated insults towards her sister, Lucia (Sophie Rundle) and verbal attacks on political views of her father (Rawlins). Siobhan Finneran as the mother was great on stage too; tired facial expressions that said it all, comedy moments that were played out so perfectly as to suggest the growing annoyance and banter between husband and wife over the years. She was also wonderful to watch when looking after her elderly father (Laurenson). She managed the motherly position better than I have ever seen on stage. Certainly tops Brendan Coyle's performance in Mojo last year! Although on-stage husband, Adrian Rawlins, did not act with any particular conviction. It was more saying lines than acting them. 

Susan Engel & James Laurenson - dailymail

Susan Engel was among the best, as was her younger self played by Hermione Gulliford. They captured the mentality of a woman who has been locked away for all of her life as well as capturing her class in being brought up as a lady. Karolina, feels no sense of entitlement, having sent Marsha and her mother to the streets to live. But now, she is sorry and spends the next 66yrs becoming friends with Marsha's mother and living alongside as part of the Kos family. Lucy Black as Dunya with Dunya when acting alongside Charlotte Beaumont as the younger Lucia were joyous to watch as Beaumont captured the energy and excitement of a young child with a polaroid camera. Sibling rivalry was rife and it made the early years entertaining to watch. Although entertainment, or anything else, seemed to lack from the rest of the play.

3 Winters - NationalTheatre

The tale was dry. It lacked a point. It was simply a story that I felt had no purpose and therefore just didn't need to be told. It half-heartedly made a statement about hierarchy, class and entitlement but never really arrived at the point. What was it we were supposed to learn? That entitlement is false, that hypocrisy is rife or that countries prone to revolution are almost certain to face a conflict of interest and of values?

There was no resolution. I think that's my issue. The characters just went their own way which left us waiting for something to happen. And it never did. Alisa left one way and Lucia got married and went the other. What lessons were learned, we will never know.

To hand it to them, the cast did good with what they had, but they didn't have a lot to begin with.