Grotty - Review

Bunker Theatre, London

**

Written by Izzy Tennyson 

Directed by Hannah Hauer-King

Izzy Tennyson

Grotty is a dark, grimy, and vivid exploration of the subcultures of London's lesbian scene. Focused on the experiences of Rigby (played by Izzy Tennyson herself), a 22 year old intern at a TV company who also happens to be a drug addled psychotic, we learn that she has managed to get into a plethora of relationships with women that cover the spectrum of lesbian culture. 

Although the play makes for a confused ninety minutes it is not all bad. There is some lovely work from Grace Chilton as Witch, an emotionally and physically scarred dominatrix who delivers a beautiful stillness and vulnerability during a particularly harrowing moment. Anita-Joy Uwajeh as the wholly unlikable and over confident Natty, a self-proclaimed big wig who could pull strings and make anyone an undesirable, was an edgy and bold turn too. 

Anna Reid's set design is effective, proving sufficiently basic and pliable to transform itself from the the hazed shapes you'd just be able to discern in a dark club, into a vague flat, post hook-up.

There are some positives here, it is just difficult to understand what the narrative is trying to convey. To market the show as an exploration into lesbian London is a little disingenuous, the fact that Rigby and the other characters are lesbians proving to be irrelevant. It may well have been that when Tennyson set out to write the play, she intended it to open people’s eyes to lesbian culture. But in her finished work it seems that as the script developed, the ideas popping into to Tennyson's head (LGBT - rape - mental health - suicide - drugs - alcohol - death ) were baldly worked into the text so fleetingly that none of them stayed relevant for long enough to matter.

It is hard to sympathize with a protagonist who continuously complains about her life, grabbing at quick fixes to find validation and self worth and lamenting about having no control, yet refusing to take any. All that is left is a cocaine-riddled millennial, coasting through her narrative as a non-committal, self-centered drain on the people around her, "as long as they have nice flats."

The end result is a play about nothing in particular. Much like its lead character, Grotty tries to say so much but ultimately, says very little.

Runs until 26th May

Reviewed by Charlotte Darcy

Photo credit: The Other Richard

Titus Andronicus - Review

Greenwich Theatre, London

****

Written by William Shakespeare
Directed by Yaz Al-Shaater

Smooth Faced Gentlemen's all female Titus Andronicus is a deftly trimmed take on Shakespeare's most bloody tragedy. Amidst some cracking performances, a company of 8 clad in white blouses and black trousers and performing on a stark white set, deploy litres of red paint to depict the story's carnage.

The base motives of the play: lust, betrayal and parental love are all preserved in a text that has been finely chopped to just 80 minutes plus interval. The acting is a delight, with imaginative voice work chanted in from the wings that only adds to the Roman - Gothic chamber of horrors unfolding on stage. The moments of comedy are well defined and with paintbrushes (and occasionally rollers) replacing the conventional ironmongery of weapons, the irony and horror of the piece are cleverly preserved.

The cast are all strong, led by an imposing Ariane Barnes in the title role. Stand out performances amongst a talented troupe are Anita-Joy Uwajeh's Aaron who frequently has the audience in the palm of her hand as she effortlessly blends evil with comedy. As Tamora, Olivia Bromley exudes an infernal cocktail of defiant maternal love, alongside a sickening contempt for Lavinia's vulnerable womanhood as well as a burning sexuality.

Four of the cast swap between various roles and whilst their transitions are slick, they add a layer of complexity that may well confuse a newcomer. Memorable from the role-changers is Ashlea Kaye who manages the challenge of portraying Demetrius' evil youth whilst also capturing Marcus' warm avuncular balm.

Only here for four days before a return to the Edinburgh Fringe this summer, Yaz Al-Shaater directs this triumphant truncation assuredly. This gender bending production takes a little getting used to and Titus novices would do well to peruse a pre-show synopsis, whilst those familiar with the fable should revel in this Elizabethan prequel to Come Dine With Me. With lashings of red sauce, the Smooth Faced Gents' Titus Andronicus makes for some of the most refreshingly accessible Shakespeare in town.

Plays until 2nd May - Then at the Edinburgh Fringe