Forgiveness - Review

White Bear Theatre, London

***

Written by Tyna Taskila

Directed by Sam Edmunds

Tyna Taskila

Drawn from personal experience, Forgiveness is a story of the generational trauma experienced by a daughter from her abusive mother. Unable to let go of the memories and childhood experiences that still haunt her adult life, Tessa highlights how hard it can be to move on. 

Tessa shares the pain of her own mother seeking to have pursued her personal dreams through Tessa's youth - particularly her mum's gymnastic aspirations - and she also recognises the importance and as now a mother herself, the challenge of not transmitting her lived trauma onto her own young daughter Lily.

Written and performed Tyna Taskila, Forgiveness is a thoughtful and harrowing work on the physical and psychological harm that can be inflicted upon a child. As a play however, coming in at just under the hour, the pace feeels rushed. This is not helped by Taskila's frequent changes of character that interrupt the flow of the narrative, reducing the drama's suspense.

When it's all over Taskila asks for donations to the NSPCC, a 5-star idea.

Runs until 23rd September

Photo credit: Ali Wright

Bloody Yesterday - Review

White Bear Theatre, London

**

Written by Deirdre Kinahan

Directed by Rex Ryan

Elizabeth Moynihan and Sinead Keegan

 

Deirdre Kinahan’s new 50 minute two-hander tells the story of Lily (Elizabeth Moynihan) an English art student who married an Irish farmer, hated the set up and finally abandoned him and their small children. This quite simple story is told in a series of interlocking monologues that alternate between the now 40-something Lily and her elder adult daughter, Siofra (Sinead Keegan). Lily feels a certain amount of guilt while Siofra evinces anger that is sometimes sardonic, sometimes bitter. 

 

Keegan is a strong actor and warms into the part as the play progresses. Her occasional pretend comments to the audience are effective and very natural. Moynihan gives us a much colder character who has never come to terms with her failures. They occupy different halves of the playing area because, of course, they are in different places without contact, until eventually they speak on the phone when Siofra realises she needs to tell this person -  she repeatedly says, puzzled, to herself “Mum, mummy, mama … Lily?” -  about recent developments in the family.

 

The story telling is convoluted and the show is almost over before the details of what happened are clear. The writing carries careless inconsistencies too with at one point Siofra saying that her mother left before she was four and yet later she remembers sitting at a table with her, aged six. It is, however, occasionally interesting to hear something from two points of view. Siofra has always loved her Granny, for example, and is rueful about her eventual dementia. Lily on the other hand loathed her mother-in-law.

 

This play might possibly work better as part of a double bill. As it is it feels slight as a standalone piece. Moreover, one has to wonder why the dance interludes were included, unless it was to bulk out the length.

 

The ending proves to be a damp squib. The main narrative interest is anticipation of what will occur when the two women finally meet. In the event nothing happens – it is as if the playwright has run out of ideas.

Runs until 2nd April

Reviewed by Susan Elkin

Beast - Review

White Bear Theatre, London

*****

Writer: Elena Bolster

Director : Natasha Pryce

May 30 2012


This review was originally written for The Public Reviews



Beast is a finely crafted piece of theatre. The hour long, one act play tells the story of the relationship that grows between an ageing artist, Egon, and a young prostitute Valie. Their romance starts from a night of paid for passion and evolves into an artist and his muse discovering a love that is deep and pure.

Bolster has crafted a stylish text. Her fictional story inspired by a painting, she has fleshed out a beautiful yet painfully tragic tableau. At times written in a lilting verse, her mastery of the language is a joy to listen to.

As Egon, Keiron Jecchinis deploys the maturity of his years and talent into an acting tour de force. Every aspect of his vocal delivery combined with his poise and movement, is meticulously crafted, and he transforms as a lover from rampancy to tenderness with a breath-taking elegance.
Mel Oskar is a young Icelandic actress, and her performance as Valie suggests a woman with a profound depth of talent for her age. Hers is an educated and literate character, and her awareness of her deepening love for the older man is a journey that she cleverly performs. At times a coquette, yet always wise beyond her years, she is a joy to watch. And at times of passion within the play both Jecchinis and Oskar come close to re-creating Charles Spencer’s famous quote of “pure theatrical Viagra”, such is the electricity of their (fully clothed) love making

This show is more than just two stunning performances though. It is a convergence of excellence, throughout the creative team. Pryce, together with Jennifer Malarkey who was responsible for Movement, has directed the duo with wit and perception. Alistair Turner’s clever and evocative set uses the tight confines of the White Bear’s auditorium effectively, and Matt O’Leary’s lighting also expands the constraints of the small performing area.

The play represents all that is excellent in London’s fringe and Helen Edwards is to be congratulated on delivering a show that clearly demonstrates a commitment to outstanding production values.

Runs until Jun 17


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