Animus - Review

Laban Theatre, London

***

Music by Michael Webborn

Lyrics and book by Daniel Finn

Directed by Simon Grieff

The company of Animus

Set amidst family strife in 1700’s London, three children bicker and squabble over their inheritance after their father has mysteriously died. Charlotte, the eldest, a headstrong and determined young woman who’s been bequeathed her father’s wharf business is determined to prove to the patriarchal society around her that she is their equal, however deadly the consequences. 

In what is the second collaboration from British writing team Webborn and Finn, Animus delivers a cleverly constructed plot including complex characters and a chilling mystery that keeps one guessing.

There was fine work here from the students of Trinity Laban who gave the piece a 3-show outing. Animus is no easy beast to tackle comprising a dark subject matter, challenging score and multifaceted characters. Played out on Amy Yardley’s sparse set, the audience had to use their imagination to envision the settings. This may have been another hurdle for the students to climb but they did so with precision and confidence. While no doubt well intentioned, Yardley’s projections of 18th century London were at times an unnecessary distraction, failing to fill the backdrop that they were intended for.

Three specific names must be mentioned for their performances. Danielle Whittaker as Fanny Penhaligon, the powerhouse madam of the local brothel was a joy to watch. She brought an excellent comic timing that lent itself so imperatively to the nature of the character and her voice while powerful was delicate enough to suit the style well. Similarly, Harvey Westwood as Joe Grey, the loveable cheeky street urchin/thief, who helps Charlotte, track down her enemies was very easy to watch. Westwood brought a welcome, relaxed vibe to the piece that lifted the mood continuously. Resembling something of a young Ralph Fiennes, he’s an honest actor with an impressive vocal range that comfortably met Webborn and Finn’s challenging melodies.

The most striking performance however came from Laura Barnard as Lily Donne, Charlotte’s younger sister. In an incredibly complex role she simmered quietly throughout the show as the chaos ensues around her. Hovering in the background until her true motives are revealed in the second half proved effortless for the young actress and was truly the highlight of the evening. Barnard has a soaring and emotive voice and her visible turmoil had one ensnared throughout.

The students of Trinity Laban should be proud of their achievements. They have tackled a monster of a piece with professionalism and skill. It will be intriguing to see what else this year has to offer, later down the line.

Reviewed by Charlotte Darcy

The Clockmaker's Daughter - Review

Trinity Laban, London


****


Written by Michael Webborn and Daniel Finn
Directed by Michael Howcroft

Spindlewood, like most towns, has its time old traditions. But no tale is so firmly adhered to as ‘The Turning of the Key’. Every year, on the last night of winter, as the first day of spring unfolds, the Northern townsfolk gather to take part in a strange ritual to honour its oldest legend.

Spindlewood was once home to a clockmaker, Abraham Reed. A tormented genius who, stricken with grief over the loss of his beloved wife and through methods hidden even to himself, created something much, much more than a machine. Every year the Townsfolk now meet in the centre of the town square, where a statue bearing the likeness of a young girl stands, poised and still. This is Constance and she has stood in the square for as long as any can remember.

With direction from Michael Howcroft and a minimalist but highly effective set design from Amy Yardley this epic new musical has been visually scaled down and made more simplistic, though this does not deter from the stunning score, story line or performances given by the students of Trinity Laban. What it may lack aesthetically has been more than made up for with intricate costume, creative staging and the sheer blossoming talent on stage.

The ensemble did a phenomenal job in creating the feel of the ‘stuck in its ways’ town, Set in the North of England as opposed to its original setting in Ireland, it gave the townsfolk more of a working class feel that helped differentiate the class divide. Note must be given to Jenny Arnold for her stunning choreography, her use of movement in the final number of act one, Raise A Glass, was a joy to watch and showed true vision.

Alexandra Davies gives a hilarious performance as the vicious and wholly self-centred Ma Riley. Her delivery and comic timing of the witty dialogue shows the makings of a truly fabulous actress. Despite her negative attitude to her work life, her employees and even her own son Will, Davies’ delivery makes this a character that you cannot help but love to hate and hate that you love.

Similarly, Leo Rowell in his performance of The Clockmaker showed a maturity beyond his years with an emotional delivery of the tragic storyline and a rich, beautiful voice that suited the dramatic composition.

Two specific mentions must of course, go to the key characters Constance and Will, played by Christy Bellis and Jack McNeill. The writings of Webborn and Finn are not simple, but with a powerhouse voice and a stunning, emotionally involved display of acting, Bellis shows real intelligence in her depth of character. She hits all the marks, not missing a beat, whether it be comedy, heartbreak or sheer elation. Her final number in Act 2 was suspense-filled and mesmerizing. 

Likewise McNeill is definitely one to watch. Easily embodying the charm and playfulness of Will, he is desperate to escape the mundane nothingness of Spindlewood and you do not doubt for a second his adoration for Constance. He is a constant presence on stage and is a joy, not only to watch as a clearly skilled dancer, but to listen to. His clear quality of voice makes him a stunning tenor whose overall performance was faultless.

The future looks bright for Trinity Laban’s graduating year!

Reviewed by Charlotte Darcy

The Clockmaker's Daughter - Review

Landor Theatre, London

****

Jennifer Harding

Written by Michael Webborn and Daniel Finn

Directed by Robert McWhir

As Carrie The Musical closes in Southwark, so another show about a misunderstood young woman, who's blessed with supernatural powers, opens south of the river. But where Carrie was the re-imagining of a classic modern horror story, The Clockmaker's Daughter in Clapham’s Landor Theatre is a boldly written new fairy tale.

There are hints of Alan Menken, Stephen Schwartz and Howard Goodall in the music as we learn how many years ago clockmaker Abraham made himself a clockwork young daughter named Constance (geddit?) to replace his young dead wife. Notwithstanding the potentially "mechanically incestuous" complications that the scenario suggests (and which need to be ironed out in the inevitable future re-writes), the very best of fairy tales, on close examination, are all horror stories and there are distinct nods to Mary Shelley's Frankenstein as a starting point for this fable. We see Constance, like Dr Frankenstein's creature before her, learning to reason and to feel emotions and going on ultimately to be shunned by the world around her.

The plot is simple - and as Constance goes around the village performing acts of kindness, she represents a wholesome focus for the story to pivot upon. Her craving a human mortality only adds to the story's poignancy and with the inclusion of an appropriately boo-worthy villain, the show offers some gorgeous potential.

That this story works at all is largely due to the outstanding performance of Jennifer Harding in the title role. Robert McWhir has coaxed from her a subtly portrayed reality that convinces us of her soulless plight. Her robotic movements are just right, not too pronounced and Harding's gold-painted face defines her as being not of this world. Her singing is gorgeous too, making fine work of her big solos A Story Of My Own and the climactic Clockwork.

Jo Wickham hams it up magnificently (though she could shout a bit less) as the wicked Ma' Riley, out for Constance's downfall, Alyssa Martyn convinces as a charming young bride Amelia, whilst elsewhere the large company numbers again demonstrate Robbie O'Reilly's ability to achieve impressive ensemble work in the Landor's compact space, with both Keep It To Yourself and Market Day being cleverly staged numbers that were easy on both eye and ear. 

David Shields' stage design works wonders with a set that's a combination of trucks, projections and ingenious contraptions and credit too to Richard Lambert's lighting work that for the most part enhances both ambience and location.

This ain't the finished product yet, but it's a damn good work in progress. The show needs to lose at least 30 minutes and its script would benefit from some expert treatment too. But make no mistake, The Clockmaker's Daughter is a charming show that celebrates the ingenuity of today's new writing - it's fun to watch and a bit of a tear-jerker too. This wonderful story deserves a future life, possibly as a Xmas show somewhere or who knows, possibly on screen? There's enough potential in the story to hook even the most Disney-fied of today's audiences and I wish it well.

Runs until 4th July 2015

Picture credit: Poppy Carter Portraits at www.poppycarterportraits.com