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This week's round-up from ET
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Podcast: Here Comes The Drought
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Writer Nina Atesh, along with actors Andrew Callaghan and Jack Flammiger chat about their play The Drought, a psychological horror set onboard a Victorian naval vessel, stranded on the seabed because the world's oceans have vanaished. Listen here
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Next Week's podcast/ Radio Show
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Our next radio show and podcast guest is Helena Collins O’Connor, chatting about her show, Auto-Engrain. Catch the radio show Wednesday at 8pm, repeated Saturday 3pm, or the podcast released on Thursday.
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The music is simply but skilfully presented. It never oversteps its boundary into feeling like we are watching a full-on-musical, but is carefully woven into the organic experience of the ‘gig’.
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Producers at HistoryRiot describe their mission as giving audiences “a fresh sense of identity with the place in which they live and the historical sites they visit”, and I would certainly say their use of the venue brings new life into the historical site.
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Some of the repetitive jokes did feel like we were pulling teeth (sorry again), but one can’t deny that there was fun to be had and the show brought plenty of joy to hundreds of children in Wimbledon tonight.
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By the end of the evening the audience were applauding wildly, astonished by what they’d seen, and my face ached with laughter. And tomorrow’s show will be totally different, uniquely crafted for the next audience alone.
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This show is not going to be to everyone’s taste. It’s probably the most full on, offensive and challenging production you will ever attend. But it is magnificent and it is timely.
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It feels like an absolute labour of love, and one that sits nicely under the GrimFest banner it is currently playing as part of. It is, quite simply, a wonderfully creative and fun piece of theatre.
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Writer, India Harrison–Peppe puts across many relevant issues from the start, giving this play huge potential. Her fiery writing and imaginative scenes are intriguing throughout.
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These characters are clearly not simply “activists with intellectual disabilities”. They have differing opinions; they’re vulnerable; they’re hugely funny. They are revealed as humans, whose idiosyncrasies resist a single definition.
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Our three characters talk and share their dreams, and Desi Ivanova’s script infuses this with dark humour and some touching moments, particularly for Juan who gets a little more depth and a little more humanity than Murph and Juanito, and Viveros plays this particularly well.
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The audience has enough material to make their own minds up as to whether Sasha’s memory is accurate or if is he an unreliable narrator, casting a golden eye back on some bad times. Is he harsh – beyond harsh – in his treatment of his brother and sister-in-law?
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Please, Feel Free to Share weaves together beautifully to bring its audience tantalizingly close to understanding an individual who refuses to be seen for who she truly is.
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"I’ve followed all their work, and to now be in a production of theirs is very special, from being the wide-eyed teenager sat in the stalls of the Lyric Hammersmith."
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