Theatre Review: Horny Handed Tons Of Soil

Image Source: Unity Theatre

Written By: Scott Gunnion

Format: Play
Genre: Drama
Date: July 13 2017
Location: Unity Theatre, Liverpool, England

L8, L8. It seems I hardly know thee. Not if Horny Handed Tons of Soil is anything to go by.

Ordinarily, a love story usually takes the form of boy-meets-girl, man-meets-woman, or open-minded individual meets gender neutral individual. Not on this occasion. This performance was a love story between geography and biology. Between reason and nostalgia, or a parable on how one struggles to marry the two.

Here, poetry and documentary unite to create a richly nostalgic tapestry and an ode to times long gone by. The writer is clearly and overwhelmingly punch drunk love with his chosen subject, though he never really explains why and just expects the audience to accept it and agree without question.

But nostalgia can be toxic when left unchecked.

The performance was effectively a one-woman show. The only other character was an umbrella that somehow found itself injected into each and every segment.

Bursts of poetry were punctuated by videos conveying the rampant dilapidation of modern L8. The participants were a right morbid orchestra. Whilst irrefutably tragic, very real and deeply ingrained feelings of helplessness were showcased. The finished project, in all its melancholy molasses, amounted to a damning verdict on the perils of neglect and critical condemnation of the failures in the leadership of successive councils, each as complicit as the one before. This was corporate manslaughter.

It was abundantly clear that these much-lauded coordinates had left behind the days of glory and fallen victim to ignorance and indifference. The participants exhibited only passive despair. One participant suggested L8 could become a ‘world class tourist destination’, betraying delusions of grandeur and a naked sense of entitlement that was hard to justify.

The music, provided by a three-man army, was well-considered, and the sedating sound of trumpets successfully conveyed a sense of longing and aching. Longing for a time long passed, aching for a resurgence in relevance. But alas it all felt in vain.

So what did the audience make of it? They were decidedly divided. Some suggested that those who share a history with L8 would have come away from the performance having felt a deep emotional connection. For them, it really struck a chord. As for the rest of us ...

What was intended as a faithful portrayal of local history often bordered on sheer fiction.

The inevitable impression one is left with is disappointment that the writer never really offers up any substantative explanation of his wide-eyed infatuation with L8. A woefully narrow perspective void of explanation.

If you can sit still for 40 minutes, then it's worth a watch. Though be warned: unless you share a history with L8, you may come away feeling as though you've watched something in a foreign language, so sceptics ought to steer clear.

Overall Rating: 6.5/10 - Okay

Omnibus

Image Source: Unity Theatre

Written By: Mark Armstrong

Format: Show
Genre: Comedy
Date: June 8 2017
Location: Unity Theatre, Liverpool, England

Omnibus, the show which scooped the inaugural Liverpool Hope Playwriting Prize, has just begun its ten-day run in Unity Theatre, and it is also the first show to be playing Unity since its re-opening following extensive redevelopment.

Written by the very talented Katie Mulgrew and directed by Bob Farquhar, Omnibus tells the story of three housemates and their landlord, who are all at home ready for a Sunday dinner (or tea, as the characters remind us). Mark (Joel Parry) and Jess (Eva McKenna) are an item, with Mark supposedly planning to have Jess move in, much to the chagrin of Nell (Gemma Banks), who is the smarter, more logical-thinking housemate, and she particularly dislikes the "sexily-stupid" Jess for playing on her apparent confusion and cuteness to appease Mark and gain sympathy. As for Lauren (Alice Bunker-Whitney): the landlord is clearly a bit drunk, to say the very least, but she is also trying her best to hide the obvious pain suffered from being dumped at the altar, exactly one year prior.

Jess is attempting to cook the meal but failing miserably, and she and Mark eventually go to the shops to buy further items and quell the storm being brewed by her accident-prone nature within the house. As Nell and Lauren flick the television on and off to catch particular moments of Eastenders, things change when a sudden visit by the unknown Leslie (Danny Burns) leads to panic and fear when he produces a gun, as he is on the run from police for an as-yet unknown crime. Soon, Mark and Jess are drawn into the saga, and the story then becomes about whether Leslie will be caught and, if so, whether the four housemates will be taken down with him. But by this point, Lauren has fallen for him, and it's clear that the relationship between Mark and Jess isn't all that it seemed, especially when Nell enters the romantic picture in a roundabout way.

It's a comedy show, so all of this is told in a light-hearted manner with plenty of jokes, one-liners and moments of physical humour. The exceptions are the occasionally serious scenes whereby the cast tug at the emotional heartstrings, especially when Lauren suddenly tells her fellow housemates and Leslie about how she truly feels in the wake of being ditched on her wedding day, a feeling which many can relate to regardless of their personal circumstances. But comedy remains the predominant tone, especially when Jan (Eithne Browne), Nell's mum, turns up out of the blue towards the end, which leads to the show's funniest lines.

Although she's in the show for a fairly short amount of time, Eithne Browne is superb in her role, perfectly playing the friendly-yet-gabby mother who drops by at the most unexpected and most awkward times and adding her own personal touch to her well-written one-liners. From a performance standpoint, everybody is commendable, but I felt that Alice Bunker-Whitney stole the show as Lauren, demonstrating a range of emotions from the lovably-lazy landlord to the gobby and arguing drunk to the sympathetic and relatable victim. Though it isn't obvious upon first glance, Danny Burns quickly changes audience perceptions of his character by toggling between various accents and personality traits, which work both because they are entertaining and because they are so unexpected, given how he enters the story initially.

Unpredictability is at the centre of the plot for the most part, though some surprise elements didn't really make sense and felt like an attempt to break the fourth wall (with the repeated use of "That was unexpected") rather than tying in with the story. I also felt that while the main strands of the story are nicely linked together, one particular arc wasn't really concluded (I won't spoil it here), but it felt like there was a missing scene as opposed to this device leaving the story open for the audience to think about. There were other minor issues, but ultimately the show still had a lot more to like than to dislike, such as the simple yet effective home setting, the clever use of props which would be referenced later in the story, and the effortless way in which the main plot ties in with the episode of Eastenders that the foursome were originally watching.

Overall, Omnibus marks a strong start to the new era for Unity Theatre, and it is an entertaining story which is both relatable and over-the-top in a charming way, whilst raising some thought-provoking points on occasion and delivering a generous helping of laughs. Omnibus runs until June 17, and I would suggest that anybody interested in local theatre (especially those aged 18-30) should go and see it.

Overall Rating: 8/10 - Very Good

Unity Youth Theatre performs a new play by Esther Wilson this Saturday in Unity’s Dark Dark Wood

Written By: Mark Armstrong

Provided By: Unity Theatre

This Saturday, December 17 at 7.30pm & 8.30pm, Unity Youth Theatre will give a special Christmas performance - 'Once There Were Trees' - inspired by the setting of the Dark Dark Wood and written by the members themselves with award winning Liverpool playwright Esther Wilson ('Ten Tiny Toes', 'Tony Teardrop', 'Unprotected').

Esther Wilson is an award-winning Liverpool playwright and screenwriter. She has written for Bafta and Emmy award winning shows The Street and Accused. She has also won an RTS Award for best newcomer for The Street.

Unity Youth Theatre and their directors, Laura Campbell and Carl Cockram worked with Esther Wilson to bring together the following programme note:

“Britain is the loneliness capital of the world.

“Shockingly, it is a greater concern for young people than it is for the elderly. Loneliness is linked to stress, depression, anxiety, paranoia and addiction. The Internet and social media can be great at keeping us connected to the wider world but it can be detrimental when it replaces personal interaction.

“We are bombarded with information on how we should look, think, feel and experience the world. We often find ourselves lacking in comparison. Everyone seems to be out there having a great time…except ‘me’.

“Or we are faced with the notion that the world is a terrible place. Death, war, famine, climate change. We struggle with great waves of guilt and compassion while feeling inadequate at not being able to do anything to make the world a better place. We have invented all these wonderful systems - science, religion, technology - to help us understand what it is to be human. But they often overwhelm and control us. And stop us from accepting that there are many unknowns in the world…things that can’t be explained or put in a ‘box’. Young people look to the adult world for answers…but we simply don’t have them all. We don’t have many. In reality we are all curious children negotiating an unfamiliar path that can be both terrifying and exciting. Isn’t it our duty to enable those coming after us to trust in their own instincts and thoughts? To help them develop the courage to step into the unknown on their own terms? Original thinkers dare to question what the world accepts as fact. In order to move forward we have to learn and adapt.

“We are a creative species. Look around you. Most things you see have been thought into being. Whatever terrifying things happen around us the desire to celebrate life will still course through our veins. It is manifest in our singing, our dancing and our laughter. It’s the subversive two fingered salute to oppression, suffering and death. It comes from our young people. It is a glorious cause for celebration.

“This piece has been inspired by Dante’s inferno, The Bible, The Viz, Iceland, Carl Sagan, the Beatle’s White Wlbum, Prince, the Anglican Cathedral Gardens, Sting, Night of the Hunter, the 80’s music scene, Red Riding Hood, Absurdism and the courage of the original thinkers of Unity Youth Theatre.

“A collective endeavour involving Unity Youth Theatre, Laura Campbell, Carl Cockram and Esther Wilson.”

Working with Action Transport Theatre and Katie Scott, a designer from Liverpool Institute of Performing Arts, the Dark Dark Wood draws on visual ideas from the Christmas show, Little Red and the Big Bad Wolf. The theatre is delighted to have received a grant from the PRS Foundation, which has made the series of events possible.

Tickets can be booked via Unity Theatre’s Box Office, by calling 0151 709 4988 or via www.unitytheatreliverpool.co.uk.

Unity Theatre Goes ‘Out Of Space’ For Spring 2017

Written By: Mark Armstrong

Provided By: Unity Theatre

Unity Theatre has always had a reputation for sparking debate and challenging the norm. Whether it’s a searing show like Nina: A story about Me and Nina Simone, a festival performance at Homotopia, DadaFest or Physical Fest or the long standing and ever-popular Christmas show with Action Transport Theatre, Unity always programmes work which thinks outside of the box.

In Spring 2017, as Unity Theatre undergoes a £790,000 capital redevelopment, the theatre itself will go outside of its own box, and announces a season that reaches out of the theatre and into the community, with a selection of bold and reactive shows.

Matthew Linley, Artistic Director and CEO at Unity, explained: “We’re delighted to be presenting a season of shows across several venues in the Merseyside area between January and April next year. While our own theatre undergoes a transformation, we want to take the opportunity to use some of the fantastic venues around the city, new and old, conventional and unconventional. We will then reopen in May 2017 with a our summer season, and we can’t wait to show off our new spaces.”

The ‘Out of Space’ season will draw on Unity Theatre’s aims to collaborate and encourage new and burgeoning talent, engage families and individuals from economically disadvantaged areas, tackle current issues and say the important things that would otherwise go unsaid.

Highlights include Narvik (February 27–March 3), a show that cements Unity’s relationship with Bluecoat. Written by Lizzie Nunnery, this critically-acclaimed show crosses generations and cultures in a powerful story of love and war.

Cathy (February 11) by Cardboard Citizens, which will take place in Liverpool Cathedral’s Lady Chapel, has been programmed in response to the current homelessness crisis in Liverpool. The show aims to raise awareness and encourage audience members to make a donation to this cause instead of buying a ticket.

David Morrissey, Actor and Unity Theatre Patron, commented: “Cardboard Citizens do fantastic work for excluded people, and have done for the past 25 years. I'm really pleased that Unity Theatre are able to bring the astounding show Cathy to Liverpool, which has suffered a rise in homeless people over the last few years.

In addition to a suggested donation to the local foodbank, Hope+, Unity will also be collecting for Shelter, the housing and homeless charity. The charity was established 50 years ago in response to public calls for action following the release of the original TV play, Cathy Come Home. Even after 50 years Ken Loach's story is still very relevant today so please give generously!”

Unity Theatre is delighted to be collaborating with MDI (Merseyside Dance Initiative) to create a pop-up dance house for the flagship dance festival, LEAP 2017. From March 1-12, LEAP 2017 will be taking over the city centre’s latest venue, Make Liverpool, to offer a bold and ambitious programme of dance with performers from across the region and UK, joining together to celebrate the festival’s 25th anniversary.

Unity will also be providing the box office for the festival and presenting Hetain Patel’s show, American Man. One of Unity Theatre’s core values is to support radical festivals of new work.

Read on for a roundup of all the events in the ‘Out of Space’ season:

Saturday Splatterdays

Venue: Various

Unity’s workshops for 5-13 year olds will be making their way around Merseyside and further afield. All sessions will be free, in the following venues:

Saturday January 21 2017 Toxteth Library
Saturday February 4 2017 Spellow Lane Library
Friday February 17 2017 (Half Term) The Atkinson, Southport
Saturday February 18 2017 Norris Green Library
Saturday March 4 2017 Toxteth Library
Saturday March 18 2017 Spellow Lane Library
Saturday April 8 2017 Norris Green Library
Saturday April 22 2017 Toxteth Library

Tickets will be on sale from December 13 via Unity’s website.

Night Light by Mandala Theatre

Wednesday January 25, 7.30pm

Venue: Capstone Theatre, Liverpool Hope Uni Creative Campus

Somewhere in England two teenagers seeking asylum, fearing deportation, hide out in an abandoned factory. As the long cold night unfolds, they imagine their future and tell each other about their past. In the midst of sharing food and stories, they hear someone else arrive. Terrified, they creep towards the door where they find a familiar figure. The three of them talk through the night about home, belonging and the system...But the children remain wary: at any point he can reveal their hiding place, turn them over to the authorities and send them back to their countries and to danger.

View the trailer here: https://www.youtube.com/watch?v=bJ-Tz7VqmP8

On sale now via Ticket Quarter: https://www.ticketquarter.co.uk/Online/night-light

Cardboard Citizens presents Cathy

Saturday February 11, 7.30pm

Venue: Liverpool Anglican Cathedral Lady Chapel

Settled …. Until suddenly you’re not…

Acclaimed Theatre Company Cardboard Citizens presents this powerful and emotive Forum Theatre show, exploring resonances in today’s society with the story told in the ground-breaking Ken Loach film, Cathy Come Home, 50 years ago.

Candid, poignant and intimate, this four star hit new play (The Stage, The Upcoming & The Reviews Hub) by award winning playwright Ali Taylor (Cotton Wool, OVERSPILL, Fault Lines) offers a timely reflection on the social and personal impact of spiralling housing costs, gentrification and the challenges of the forced relocation away from London.

This is a free event, tickets can be reserved at Unity’s box office and there is a suggested donation to the local food bank, Hope+. Unity Theatre will also be collecting donations for Shelter at the show.

Watch the trailer here: https://www.youtube.com/watch?v=2IoSgUIgfJA

Tickets will be on sale from December 13 via Unity’s website.

5 More Minutes by Travelled Companions

Friday February 17 2017, 11.30am & 2.30pm

Venue: The Atkinson, Southport

When Moon and Stars are shining in your eyes
Then I will sing to you a lullaby
The day is over now it’s time for bed…
But with five more minutes we can play instead?

5 More Minutes is a funny and magical show about bedtime for children and their grown ups, in which we’ll explore the fun, frustration and fantasy that can be had in that magical time between awake & asleep. Real world play will blur with the magic of dreams as we all try to settle down and finally get ready to say goodnight, and go to sleep… unless that is, we can have 5 more minutes!?

5 More Minutes is an interactive family show with a playful performance style, live music and puppetry. In a child’s imagination, five more minutes can last forever! (But this play has a running time of approx. 50 minutes.) Bring along your bedtime snuggly. Suitable for children aged under 6 and their families.

View the trailer here: https://vimeo.com/170939290

Tickets are available here: http://www.theatkinson.co.uk/events/5-more-minutes/

Box Of Tricks Theatre presents Narvik

Monday February 27–Friday March 3, 7.30pm

Venue: Bluecoat

Following an acclaimed run at the Liverpool Playhouse Studio, Narvik embarks on a national tour as part of Box of Tricks’ tenth anniversary season. Lizzie Nunnery is an award-winning playwright ('Intemperance' at Everyman Liverpool and 'The Swallowing Dark' at Liverpool Playhouse Studio and Theatre503) and celebrated singer/songwriter.

Inspired by tales of Naval veterans, Narvik tells the story of a Liverpudlian man and a Norwegian woman pulled together and torn apart by war as the events of one summer cause ripples across an ocean of time. Fusing live folk music and new writing to create a patchwork of memory and dream, Narvik is a bold new play set during the Second World War that brings to life a powerful story of love, guilt, heroism and betrayal.

Watch the trailer here: https://vimeo.com/135671559

Tickets will be on sale from December 13 via Unity’s website.

American Man by Hetain Patel (LEAP 2017)

Thursday March 9, 7.30pm

Venue: Make Liverpool

Award-winning dancer and choreographer, Hetain Patel, is just one of the national and internationally renowned artists to be joining the LEAP 2017 festival line-up to examine the theme of camouflage - the seen and unseen stories of humanity, so we are thrilled to bring you his new production, American Man.

American Man is a new one-man show, which builds on the critically acclaimed American Boy. Playing provocatively with race, gender and identity, American Man imagines a not-too-distant-future where celebrity power and political correctness have reached new heights. A future where Barack Obama’s post-Presidential role is CEO of Apple, and Stephen Hawking voices Disney characters.

Combining seamless vocal and physical impersonations with his characteristic wit and humour, Hetain Patel presents a dystopian outlook on a world where personal freedom walks hand in hand with guilt.

Hetain spent a period of time in research and development at Unity in January 2016 and the theatre are delighted to bring him back to Liverpool as part of LEAP 2017.

Tickets will be on sale from December 14 via Unity’s website.

Gaudete

Friday March 17-Saturday March 18, 7.30pm

Venue: Make Liverpool

Gaudete is a thrilling stage adaptation of Ted Hughes’ poetic novel by OBRA Theatre Company performed by an international ensemble of eight performers. Seven years in the making, this extraordinary piece takes Hughes’ words as a starting point to create a magical and surreal piece of physical theatre. The story follows Nicholas Lumb, an Anglican Minister from the North of England who is abducted by spirits, duplicated and returned to the world a changed man.

Watch the trailer here: https://vimeo.com/71505670

Tickets will be on sale from December 13 via Unity’s website.

Research and Development at Unity

Theatre companies will continue to develop work with support from Unity and will be using the rehearsal room next to Unity Theatre’s temporary offices on Hanover Street.

Scratch Nights

Unity will continue to encourage new writing as the regular Scratch Nights are set to continue in venues outside of Unity Theatre, the first one to be confirmed is at Make Liverpool on March 14 2017. More information and an application form will be available in the next few weeks at http://www.unitytheatreliverpool.co.uk/opportunities.html.

Patrick Dineen performs in Unity Theatre’s Dark Dark Wood

Written By: Mark Armstrong

Provided By: Unity Theatre

Patrick Dineen, composer for Christmas Show, Little Red and the Big Bad Wolf, performs in Unity Theatre’s Dark Dark Wood

Regular Unity Theatre and Action Transport Theatre Christmas show collaborator, composer Patrick Dineen will use the setting of Dark Dark Wood to continue his own exploration of music inspired by dark fairy tales on Thursday December 15 at 8pm.

Patrick Dineen is a composer, lyricist and orchestrator. He began in music began by touring and recording with his own band Kan Kan and then ran a tango nightclub in London’s West End while writing songs and music for fringe theatres. His work led him to becoming a freelance composer for theatre, TV radio, and film and subsequently being invited to study with Stephen Sondheim in his Master Classes in Music Theatre at Oxford University. Since then he has written many scores, for theatre, ballet, TV, radio, independent film as well as large-scale site-specific projects.

Patrick said: "I'm excited to be writing and developing music which thematically links to the music I’m writing for Little Red, I've always been fascinated by the darker side of fairy tales, and this project has allowed me to go deeper and further into the imagination.”

Working with Action Transport Theatre and Katie Scott, a designer from Liverpool Institute of Performing Arts, the Dark Dark Wood draws on visual ideas from the Christmas show, Little Red and the Big Bad Wolf. The theatre is delighted to have received a grant from the PRS Foundation, which has made the series of events possible.

Tickets can be booked via Unity Theatre’s Box Office, by calling 0151 709 4988 or via www.unitytheatreliverpool.co.uk.

Little Red and The Big Bad Wolf

Image Source: Unity Theatre

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 3 2016
Location: Unity Theatre, Liverpool, England

The fairytale of Little Red Riding Hood is known by virtually everyone, with the target audience obviously being young children. The story has slight differences in some versions, but needless to say, the core elements remain the same, including the relatively short time it takes to tell the tale.

Therefore, Little Red and The Big Bad Wolf was an intriguing prospect. How do you take a story which everybody will know, and which doesn't last too long, and create a theatre show out of it that will maintain interest and provide entertainment for attendees of all ages? Well, anybody who feels that this is an impossible task would be surprised, because Little Red ... ticks all the boxes, whilst adding some unique layers which ensure that it stands out from the classic fairytale.

You won't need me to explain the plot, but I will tell you why this show is different. For starters, there are a number of original songs featured in each scene, which help to either move the story along or emphasise certain character traits. The settings are also a stand-out element: we're taken into the woods, including the use of gravel to represent the muddy fields walked through by Little Red. But it's the use of comedy which helps to make this show: there are frequent moments of comedy, ranging from standard lines appealing to younger members of the audience to clever one-liners and even some occasional ad-libbing to match the opinions of those warning Little Red and her grandma of impending doom.

I also appreciated the smaller touches: the story wasn't afraid to poke fun at itself on more than one occasion, and there are also nods to other classic fairy-tales, including one amusing reference to Jack and The Beanstalk. The costumes were effective, and helped to hide the fact (or perhaps promote it in a satirical manner) that the same crew of four performers were playing all of the characters (besides Luca Rutherford, who plays Little Red, the remaining members of the cast have more than one role). Speaking of which, all four actors and actresses - Luca Rutherford, Harvey Robinson (who plays the Big Bad Wolf), Simone Lewis and Natalia Campbell - adapt well to their interesting surroundings (a greater achievement considering the very intimate theatre setting for the show), with each having an important part to play and with the performances being strong throughout, ranging from drama to comedy to mild horror (one very young child near me got a bit frightened towards the end!). And without spoiling the details, I will urge that the kids look out for moments of audience participation, as there may be a chance to not only get involved, but to also pick up a little treat!

The only thing I would say which could have been better was that, as a show which will be held over the Xmas season, there wasn't anything particularly Christmassy. Some decorations, one holiday-themed hit or even a Christmas-related scene tacked onto the finale would have gotten the young 'uns into that festive spirit. Otherwise, though, this was a really fun show, one perhaps better for those who have kids aged between 5 and 10, but I feel that all members of the family will enjoy this unique retelling of a classic story.

Overall Rating: 8/10 - Very Good

The Rise and Fall of The Hamburger Queen

Written By: Mark Armstrong

Format: Show
Genre: Comedy
Date: November 4 2016
Location: Unity Theatre, Liverpool, England

If you are unfamiliar with the term "Hamburger Queen", you may wonder what the title means. Is it a new mascot for a fast food chain? Is it a best-selling Halloween costume at Asda George? Is it a secret character in a Mario Kart videogame? In reality, Hamburger Queen is a unique competition held annually in London; however, for the purpose of this article, Hamburger Queen is of greater relevance in providing the backdrop for Ashleigh Owen to tell a very interesting, and very funny, first-person account of her life story so far.

A local Liverpool girl whose carefree ways and innocent naivety are topped only by an outspoken love/hate relationship with her mother and an outrageous sense of humour, Ashleigh Owen uses her conversational personality, musical numbers, eye-catching props, plenty of memorable one-liners and, most importantly, the art of dance - or, as Ashleigh puts it, DANNNCE! - to explain how, inspired by aspects of her late father's own career, she decides to embark on a new path, one which in her mind could make her the next great British dance sensation.

Met with negativity and cynicism by her mother, Ashleigh nevertheless uses every opportunity that she can to further her skills and, soon, she takes a major gamble towards trying to make her dream come true by moving to London. After an initial and lengthy period of inactivity, a chance encounter with an apparently-charming talent agent opens one door ajar to the point that Ashleigh has the opportunity to kick it wide open. Yes, this is the aforementioned Hamburger Queen competition, and it's her performance on that stage and its fall-out which shape the remainder of the show, and provide Ashleigh with her first real experience in the world of DANNNCE!

As this is a one-woman show (with only very fleeting appearances by an assistant, whose quick cameos are handled in hilarious fashion by Ashleigh), the pressure is on the star performer to keep the audience engaged throughout, especially in such an intimate environment - and she does so spectacularly. Rarely are there moments when at least one of the spectators is not laughing, either from a clever joke or a hammy facial expression or an unpredictable dance move, and Ashleigh's timing, delivery and general confidence are all spot-on throughout the evening. It's equally admirable to see how Ashleigh, a real natural in a theatre setting, is able to both perform and essentially manage the show from the stage; after all, in a venue where the audience are so close to the stage, meaning that every single movement and stage direction is picked up on, it's astonishing that Owen is able to remember the large variety of lines and back-and-forth chatter between "characters" (Ashleigh impersonates family members and her agent Beverly, rather than there being other performers acting as extras in these roles) whilst also being able to control everything else that is happening on the stage and on the projected screen.

While Ashleigh uses comedy to showcase her dance moves, and at various points we are treated to some very impressive vocal renditions of completely original songs, the strength of the show really does lie in its humour. The writing of the show, put together by Ashleigh herself and Paul Burke, ensures that there's always something to laugh at, even during scenes when Ashleigh reveals some of the more challenging experiences of her life and career so far. Not afraid to poke fun at herself through some deliberately ironic statements, Ashleigh is also a top-notch ad-libber, throwing in some unexpected one-liners that help to make an already-humorous situation even funnier. And this extends to audience interaction or, more rather, Ashleigh - how should I put it - "persuading" members of the audience to get involved in a way that they could have never imagined when they entered the theatre at the beginning of the evening. The writing is further proven to be witty and intelligent by the use of popular songs and television theme tunes at points which are both completely logical, given what is happening on the stage, and hilarious, especially in cases where the content becomes a little risqué.

This show is a part of Unity Theatre's Homotopia showcase, with there having been a preview of the main show during Homotopia 2015. During such festivals, there is a danger that certain shows can be easily forgotten, given the wide variety of performers and stories that one would see. However, it's hard to imagine that anyone who attended this show will forget their experience: there are tons of jokes which the audience could take away and repeat to their friends, whilst some of the situations (especially those involving props) must be seen to be believed, and although the humour takes centre stage (no pun intended), even the dance moves and singing are of a high standard, too.

In line with the theme of the show itself, The Rise and Fall of The Hamburger Queen is the first major theatre role for Ashleigh Owen - but judging by this production, her claim to fame of being the Hamburger Queen, and the way in which she has used her experience to tell a first-person story through comedy, really does appear to be the start of a special journey for her. If you're planning to attend Homotopia events, this is one show that you should see but, even if you previously wouldn't have an interest in viewing any shows during the Homotopia festival, I strongly recommend that you find a way to see The Rise and Fall of The Hamburger Queen; it is, as Ashleigh herself would say, the equivalent of a packet of Prawn Cocktail-flavoured Walkers Sensations within a group of Ready Salted packs.

Overall Rating: 8.5/10 - Excellent

The Rise and Fall of The Hamburger Queen - A Preview

Written By: Mark Armstrong

Through comedic characterisations, dazzling dance routines, and a show-stopping voice (obviously, she can do it all) taking you on a journey through her life: from rags to riches, from Liverpool to London, from Nabzys to Nandos, Ashleigh Owen announces The Rise and Fall of The Hamburger Queen, a brand new one-woman comedy show which makes its debut at The Unity Theatre as part of Homotopia Festival from Thursday November 3-5. You are invited to join her, so bring along your funny bones, your dancing shoes ... and your inhalers.

The Rise and Fall of The Hamburger Queen is a story that may seem like it treads a familiar path. A one-woman show, a performer struggling to make it in the harsh world of showbiz, life lessons, colourful characters, and the most graphic musical number about childbirth you’re likely to find anywhere.

Building on the success of last year’s Scratch and See performance, Homotopia Festival are now bringing you the full shebang. The brainchild of Ashleigh Owen and Paul Burke, the show tells Ashleigh’s real-life journey in trying to make it as a performer and the struggles along the way (the term ‘real-life’ is one to be taken with a huge pinch of salt!).

Ashleigh has expanded upon her solo award-winning cabaret piece “A Fat Girl's History of Dance”, which won her the crown at Scottee & Amy Lamés' acclaimed talent competition/beauty pageant for plus size people: “Hamburger Queen”.

It’s a one-woman show unlike any other. It's a one-woman parody, with original musical numbers, outlandish characters, several dance routines, a killer script, and did we mention the childbirth bit!? (Sorry Mum).

This show explores being an outsider; building on the experiences and the challenges competing for work in commercial theatre brings through their obsession with size, age and ‘beauty’.

But don’t worry too much about the serious stuff, you'll be laughing and tapping your feet too much to notice. You might even learn something..... About yourself!

Ashleigh’s professional performances have included Edinburgh Fringe Festival and the International Shakespeare Festival in Gdansk, Poland. In 2011, Ashleigh set up her own theatre company 'Catfish Theatre' with a fellow graduate from her University (London Met). Their first production was an adaptation of Eugene Ionescco’s The Bald Prima Donna. Ashleigh played Mrs Smith, which was a lead role, and also directed the show. It was well-received with over nine performances, including the Cockpit Theatre in London. This was followed by a Liverpool performance at the Lantern Theatre. Ashleigh looked to expand upon her solo comedy and cabaret work and applied to the much-lauded Hamburger Queen Competition, which was a highlight of London’s alternative live art and cabaret scene. Ashleigh went on to win the competition: £600 prize money, and a slot to perform the winning piece at Bestival. Since 2013, Ashleigh has been collaborating with writer Paul Burke on creating a one-woman show inspired by Ashleigh’s real-life experiences of leaving Liverpool to become a performer in London and the turbulent world of auditions. The ups and downs became a quasi-autobiographical, comedy cabaret show featuring dance, physical theatre and themes that Ashleigh identifies with.

The Rise and Fall of The Hamburger Queen runs in the Unity Theatre until Saturday November 5. For ticket information, click here.

You can learn more about Ashleigh Owen by clicking here.

Homotopia 2015: Scratch and See

Image Source:
Unity Theatre

Written By: Mark Armstrong

Format: Show
Genre: Variety
Date: November 3 2015
Location: Unity Theatre, Liverpool, England

As part of the 2015 Homotopia festival, the Unity Theatre hosted Scratch and See, a variety show of sorts in that there were three very different acts, all with the same message of promoting one's rights to embrace their true personality and desires (some more subtle than others). Each section lasted around 20 minutes apiece, and the three-part showcase covered the entire quality scale.

The evening opened with Freddy & Frida, which was an unusual double act. Apparently hailing from Switzerland, and allegedly influenced by The Gods of Cheese, the two-some were something of a Eurovision parody as they delivered several songs which were either past Eurovision tunes or were similar to those seen at the annual music festival (by that, I mean the lyrics didn't make much sense; not that this is a knock on the likes of past Eurovision performers ABBA and, erm, Jedward). This was accompanied by some deliberately hammy dance moves and facial expressions, and with the performers themselves donning 1970s-style wigs and flamboyant attires. I wasn't quite sure what the underlying message of this act was. A parody, yes, but of what? They did discuss cheese a lot, and I have heard of cheesing (thanks to South Park; look it up, it's quite funny actually), but I'm unclear as to what their purpose was.

It's hard to judge this act, because whether they were entertaining or not depends on your sense of humour (the music wasn't to be taken seriously; at least, I don't think so). I personally didn't find this act to be particularly funny. Had they performed one song on a family cabaret show, they might have succeeded in getting a few laughs. In a 20-minute routine, they didn't get much more than a few titters (had it been longer, chopping that latter word in half might have described what people could have acted like to the performance). The production itself felt a bit amateurish, too; had slightly more care been taken to the video footage and the graphics used, this may have had slightly more impact. And while the whole act was clearly some sort of homage, there were times when you weren't quite sure if Freddy and Frida were being serious or not with their accents and their backstory (I would assume they're actually native Liverpudlians putting the accent on, but I'm not certain of that). I would best describe this as being inoffensive yet not that enjoyable. Had they previously auditioned on The X Factor and been shown on TV as a rejected novelty act, they might have had more appeal. As it was, their filler jokes between acts about cheese puns, usually designed to get minor giggles, ended up being the best part of their routine. Fortunately, it was a kind audience who watched this bit; another, less receptive crowd may not have been so welcoming of Freddy & Frida.

That being said, the mood was always positive and upbeat with these two, which is largely the opposite to that of act number two. Jamal Gerald's story was called FADoubleGOT, and dealt a lot more explicitly with homosexuality and the difficulties he faced by being gay throughout his life. Jamal told his life story from childhood back in the United States, where he felt a secret crush on a boy at school, to his family coming over to the UK and him still being a closet homosexual, and how he prayed to God to say that he was not a sinner once his devoutly religious mother had learned via a poem that he was gay, only to see him become more positive, confident and proud of his homosexuality once he discovered Freddy Mercury and Queen.

To be honest, although it was noted beforehand that there would be strong language and references to drugs and sex, the name of this performance was probably the most - if the only - controversial aspect. Drug references were very brief, talk of sex was limited to a brief reference to blowjobs, and "s--t" was the only swear word, and even that was only used in passing. The standout elements of this were Jamal's honesty in discussing taboo subjects, the intimate feel to the performance (the Unity Theatre set-up means that those on the first few rows were very close to the stage) and the general feel that coming to terms with one's homosexuality and eventually accepting it had been a major challenge for Jamal. The tone of this was very serious, almost upsetting at times, before ending on a positive note. The darkness in the room during the show made it feel more unpredictable, and not in a good way, as you wouldn't know what to expect from such an act. Nevertheless, Jamal's story was delivered articulately and effectively, it was always engaging to the audience, and hopefully his story may inspire others who have faced similar challenges in life. Whether it worked in this environment (mixed between two comedy acts, after all) is debatable, but it definitely had an impact.

The mood was lifted for the final act, which was by far the most entertaining and memorable part of the evening. Although this was written by a good friend of mine (Paul Burke), it doesn't alter the fact that The Rise and Fall of The Hamburger Queen was a very funny stand-up comedy performance by Ashleigh Owen. At times using song and imagery, Ashleigh's routine worked because her material was strong, the laughs came thick and fast, and her Scouse accent made her delivery of some lines funnier; arguing with her mother, for example, could have been seen as unpleasant if written down, but when performed in this show, it was hilarious. There was plenty of swearing too, which some may be aghast at (like those people who write into the Liverpool Echo complaining about the most trivial of matters). My pure self would of course never use such terminology. That being said, I heard loads of swearing and I didn't give a f--k.

Ashleigh deserves credit too for including material that pointed fun at her own weight, for this only seemed to make her a more confident performer, a comedian and a woman who doesn't care what people think of her; she won't let anybody prevent her from chasing her dreams. And those dreams consisted of her wanting to become a professional dancer, and moreover, knowing in her heart that she can be successful by following in the footsteps of her father (who was also a dancer). Along the way, which included a trip to London where she freely admitted to being excited by seeing certain cafes and restaurants, she encountered resistance from her mum who wouldn't accept her daughter's career choice, but Ashleigh remained adamant that she would go for it, and so she began her journey to potential stardom.

This was only a small portion of a long show, in which you will discover what else Ashleigh encountered along the way. If you get the chance to see it, I strongly recommend that you do, as it is very funny. In the Homotopia environment, one also suspects that the show acted as an alternative, hilarious, version of what people have to go through when discovering, embracing and chasing their homosexual desires (as seen with Jamal), from finding a calling to proclaiming their pursuing of it to going out and making it happen. This was definitely the highlight of the night, and you're bound to be laughing when watching this. Besides, if the deliberately crude drawing of a man's you-know-what being randomly thrown in with a montage of baby-to-woman pictures of Ashleigh doesn't make you smirk, nothing will.

So, in the end, this hour of Homotopia had a bit of everything, from a bless-them-they-tried parody to an occasionally uncomfortable yet engaging one-man story to a genuinely funny and over-the-top comedy show. I would definitely recommend seeing Ashleigh perform her full routine, and you may hear a bit about Jamal's story in future too. Freddy & Frida? Erm, I'm not so sure about them. But regardless, it was a fun night at the Unity Theatre, and there will be plenty of other acts, covering a wide range of forms, as Homotopia continues in Liverpool until Tuesday December 1. Also note that the rating below is for the show as a whole, as some parts were better than others.

Overall Rating: 7.5/10 - Good

Physical Fest 2015

Written By: Mark Armstrong

Provided By: Unity Theatre

Just one week until Liverpool's International Physical Theatre Festival returns

It is now just one week until Liverpool’s Tmesis Theatre and Physical Fest return to the city for 2015. This year’s festival runs between Friday May 22–Saturday May 30 and offers an incredibly diverse range of acts and performances that are not to be missed.

As always, Tmesis Theatre will be bringing the very best and most established artists from all corners of the globe, with companies from Italy and Spain joining the UK performers for a truly international Physical Fest.

Physical Fest will launch on Friday May 22 at The Unity Theatre with Pact with Pointlessness, a one woman performance that lies somewhere between stand up and vaudeville. A double act for one from acclaimed choreographer Wendy Houston, who created it to tackle the death of her friend, choreographer and dancer Nigel Charnock - who she performed with in DV8, the show is full of crackling wit and ridiculous movement and is a frank demonstration of how it feels to be knocked sideways by death, renegotiate and carry on.

On Saturday May 23, also at The Unity, Ship of Fools present From the Cradle to the Bin, a hilarious odyssey about being thrown on life’s scrapheap, told through live music, grotesque parody and shocking imagery. Follow Mr Whitey, an affable English gent, as he spends his final days on the edge of a broken care system. Meet inept carers, sneering owners, money hungry family members and a whole host of others who are sure to make Mr. Whitey’s final day a memorable one.

Following on from his fifteen minute debut at Physical Fest 2014, Leebo Luby has had direction from Aitor Basauri (Spymonkey) to create a new absurd and extraordinary show, Faruchio Peru is Extraordinare. On Sunday May 24 at The Bluecoat, self-proclaimed ‘showman’ Faruchio Peru is an enigma wrapped in an ego, surrounded by an unpronounceable name, in this one man clowning show. An extraordinary man in ordinary times? Or a very ordinary man in extraordinarily absurd times? What does he want? What does he mean? Is there anything Farucchio Peru cannot do? He thinks not but is he mistaken?

Monday May 25 sees a night of work in development extracts at The Joe H Makin Centre, LJMU. In a double bill of exciting new physical work, Animikii Theatre present biblical tale Cain and Abel, exploring the theme of brotherhood through reimagined mythology, weaving vocal and movement languages with striking imagery and powerful music.

Then Yorgos Karamalegos presents some initial ideas from a two week workshop exploring the idea of Home and feelings of alienation with his core team, dramaturge Despina Sidiropolou and actor Tatiana Spivakova. Using the story of Medea as an entry point to their research as well as a personal study of the psychological triangle of mother, father and child.

Monday May 25 and Tuesday Ma 26 also feature Wild Trio, a site specific dance performance at 45-61 Duke Street, providing a refuge from capitalism in the heart of Liverpool 1. The Wild Trio have assembled and prepared, rigorously shedding social skins for the arrival of unexplainable phenomena. Site specific performance with dance artist Laura Doehler, Cathy Walsh and Genevieve Say.

Also on Tuesday May 26 at The Unity, Animal Religion present a stunning contemporary circus performance which brings out the inner animal in us all. In a grotesque parody of the modern human and the differences between the sexes, the stage is transformed into an “animalarium”; with acrobatics, heels, a spoon in the nose, rooster fight and ritual dances. It questions what is animal and what is human and includes a post show Q & A.

Friday May 29 sees the return of the annual Fest Live  at The Unity, an international showcase for the most exciting new physical and visual work from both emerging and established artists internationally which is carefully selected by a panel of the UK festival directors. With styles ranging from clown to dance theatre and hosted by a very special comic guest compares, Fest Live is an entertaining evening not to be missed.

Following the success of last year’s first draft of his hilarious clown show at last year’s festival, Jamie Wood returns with Oh No! to bring in the end of the festival on Saturday May 20. The new version of the show has been polished, trimmed, tucked and battered. When John Lennon fell in love with Yoko Ono the world was shocked. When they claimed there love was politics and art, the world squirmed. When Lennon was assassinated the world mourned. Playing amongst the enigmatic instructions of Yoko Ono's art works, in the shadow of Lennon's death, Oh No! is a psychedelic ride - a wonky homage to the woman damned for destroying the Beatles and a show about reckless optimism, high art and what we might yet have to learn from the hippies.

And if this line up wasn’t enough, The Unity Theatre also comes alive before and after the show. Come early to see intimate performances, pop up street theatre and have a bite to eat.

Squash Nutrition are serving delicious, locally gown food at every Unity Theatre show from 6pm. Buy two courses for just £5 with your ticket! Or just turn up and choose from a different seasonal menu every night.

Tmesis Theatre Graduate Company present Honky Tonk Hideaway before every show. A strange saloon, some deadly sins all add up to a physically immersive 15-minute experience. Presented at Unity 2, every night before and after the main Fest show at The Unity.

And as a final preshow warm up go on a solo trip into the bizarre beyond; Solotoria invites participants to step into the only seat in the house to view a repertory of shows including ballet and opera- totally immersive experiences in less than three and a half minutes. This is theatre for one, a miniature personal entertainment that has charmed and delighted all ages. Pop by and smile between 6-8pm before all of the Unity Theatre shows.

There will as ever, be a wide selection of participatory workshops and classes to take part in and full details of these can be found at www.physicalfest.com.

Physical Fest has become one of the international key events in Liverpool’s cultural programme, bringing the world's best local, national and international movement and physical theatre artists to Liverpool in an exciting 9 day programme of events, workshops, taster classes and performances. With an exciting and diverse line up, 2015 promises to deliver the exceptional class of entertainment this festival has become renowned for.

Liverpool's International Physical Theatre Festival returns

Written By: Mark Armstrong

Provided By: Tmesis Theatre/Physical Fest

Liverpool’s Tmesis Theatre and Physical Fest are back for 2015 with a line up that will be bigger and better than ever.

This year’s festival runs between Friday May 22–Saturday May 30, and for those who can't wait that long, there is a special festival warm-up weekend for young people with Young Physical Fest on Saturday May 2 and Sunday May 3.

As always, Tmesis Theatre will be bringing the very best and most established artists from all corners of the globe, with companies from Italy and Spain joining the UK performers for a truly international Physical Fest.

Physical Fest will launch on Friday May 22 at The Unity Theatre with Pact with Pointlessness, a one-woman performance that lies somewhere between stand-up and vaudeville. Created to tackle the death of her friend, choreographer and dancer Nigel Charnock (with whom she performed with in DV8), the show is full of crackling wit and ridiculous movement and is a frank demonstration of how it feels to be knocked sideways by death, renegotiate and carry on.

The Unity will also play host to mini performances Honky Tonk Hideaway (a 15-minute immersive experience) and Solotoria, a show for one audience member in less than three and a half minutes. Both will be performed before the main shows at The Unity throughout the Festival.

On Saturday May 23. also at the Unity Theatre, Ship of Fools present From the Cradle to the Bin, a hilarious odyssey about being thrown on life’s scrapheap, told through live music, grotesque parody and shocking imagery. Follow Mr Whitey, an affable English gent, as he spends his final days on the edge of a broken care system.

Following on from his fifteen minute debut at Physical Fest 2014, Leebo Luby has had direction from Aitor Basauri (Spymonkey) to create a new absurd and extraordinary show, Faruchio Peru is Extraordinare.

On Sunday May 24 at The Bluecoat, self-proclaimed ‘showman’ Faruchio Peru is an enigma wrapped in an ego, surrounded by an unpronounceable name, in this one-man clowning show.

Monday May 25 sees a night of work in development extracts at The Joe H Makin Centre, LJMU. In a double bill of exciting new physical work, Animikii Theatre presents the biblical tale Cain and Abel, exploring the theme of brotherhood through reimagined mythology, weaving vocal and movement languages with striking imagery and powerful music.

Then, Yorgos Karamalegos presents initial ideas from a two-week workshop exploring the idea of Home and feelings of alienation, using the story of Medea as an entry point.

Monday May 25 and Tuesday May 26 also features Wild Trio, a site specific dance performance providing a refuge from capitalism in the heart of Liverpool ONE.

Also on Tuesday 26 May at The Unity, Animal Religion present a stunning contemporary circus performance bringing out the animal in us all. In a grotesque parody of the modern human and the differences between the sexes, the stage is transformed into an “animalarium”; with acrobatics, heels, a spoon in the nose, rooster fight and ritual dances.

Friday 29 May sees the return of the annual ‘Fest Live’ at The Unity, an international showcase of the most exciting new physical and visual work from both emerging and established artists, which is carefully selected by a panel of UK festival directors.

Following its UK Premiere at last year’s festival, Jamie Wood returns with Oh No! to bring in the end of the festival on Saturday May 30. Playing amongst the enigmatic instructions of Yoko Ono's art works, in the shadow of Lennon's death, Oh No! is a psychedelic ride, a wonky homage to the woman damned for destroying the Beatles and a show about reckless optimism, high art and what we might yet have to learn from the hippies.

There will also be a fantastic selection of Street Theatre set loose upon the public, taking place at various locations across the city including performances from Boom Booms, Eggmen and Conflux.

As always, the festival will also include a series of interactive workshops with sessions available in clowning, improvisation and physical theatre from top names in physical theatre including Anna-Helena McLean, a former member of Poland’s Gardzienice Centre for Theatre Practices; Yorgos Karamalegos; Jamie Wood; Italian company Instabili Vaganti; Vivien Wood; and Spanish company Animal Religion. Workshops will take place at The Bluecoat; full details on how to book a place can be found at www.physicalfest.com.

Ahead of the main festival, Physical Fest presents a weekend of free workshops and shows between Saturday May 2-Sunday May 3 at The Bluecoat. Aimed at young people and families, the special programme of events will feature workshops and performances suitable for all ages, including Parkour performance with The Urban Playground Team, life-sized Punch & Judy from Foolsize Theatre, plus puppet making, stage combat, circus skills and theatre games. There will also be performances inspired by The Bluecoat itself performed by local youth groups, and a show exploring life as a 17-year-old in a collaboration between Young Everyman Playhouse and Off the Ground.

Elinor Randle, artistic director of Physical Fest, commented: “Last year was a milestone for Tmesis Theatre and Physical Fest with it being the 10th Anniversary; it was an incredible achievement and testament to the artists and everyone involved, and of course for the people of Liverpool that have supported us and made it possible for us to come back year after year. This year, we have been working harder than ever to ensure a fantastic programme of events. There is more performance than ever, with something to do every night, food and festival club at the Unity, street theatre, as well as a developed and packed weekend for young people in early May.”

Physical Fest has become one of the international key events in Liverpool’s cultural programme, bringing the world's best local, national and international movement and physical theatre artists to Liverpool in an exciting nine-day programme of events, workshops, taster classes and performances. With an exciting and diverse line up, 2015 promises to deliver the exceptional class of entertainment this festival has become renowned for.