Showing posts with label Theatre reviews. Show all posts
Showing posts with label Theatre reviews. Show all posts

Monday, December 4, 2023

The Hidden Review: Pandoro, mutuo e Maradona - Recensione Teatro

 


Il team di The Hidden Review è stato presente alla prima teatrale dello spettacolo prodotto da “La Compagnia di Antonino” dal titolo Pandoro, Mutuo e Maradona, con la regia di Antonino Laudicina.
Questa compagnia teatrale ha molto prestigio ed è acclamata in teatro da anni per la presentazione di spettacoli molto vivaci anche quando presenta temi e copioni particolarmente difficili.
La Compagnia di Antonino quest’anno ha portato in scena, per il suo pubblico, uno spettacolo inedito scritto e realizzato da ASAAMA, che ha debuttato dal 1 al 3 dicembre al Teatro Immacolata.

L’idea prende spunto da uno dei pilastri del teatro di Eduardo, Natale in Casa Cupiello, scritto e diretto dallo stesso Eduardo De Filippo, regista/attore più acclamato del teatro napoletano e ambientato a Napoli nel 1931.
Lo spettacolo Pandoro, Mutuo e Maradona, cala il Natale in casa Cupiello in una versione contemporanea, con un'ambientazione diversa e una diversa scomposizione dei personaggi, che mette in mostra questioni, realtà e temi della società attuale ponendo domande sui comportamenti moderni e offrendo uno spunto di rflessione, seppur leggera, su tali argomenti.

Lo spettacolo ci introduce subito in casa di una tipica famiglia napoletana composta dai genitori Luca (Antonino Laudicina) e Concetta (Stefania Piscopo), che convivono con il figlio Tommasino (Nino Cuzzola) ed il fratello di Luca, zio Pasqualino (Paolo Migliaccio) che preferisce farsi chiamare Pascal, ed hanno anche una figlia, Ninuccia (Manuela Migliaccio), che pur non vivendo più con loro, irrompe in famiglia con i suoi problemi.

Analizzando il tutto emerge la sfida di essere genitori e di affrontare quotidianamente i problemi dei figli adulti, cosa normale per ogni famiglia. Ma gli aspetti divertenti del fatto che si tratta di una tipica famiglia napoletana mostrano Luca come un tifoso del Napoli il cui "Dio" è Maradona ed il figlio Tommasino tifoso della Juventus antagonista per eccellenza della squadra partenopea. Quindi la religione diventa il calcio, ed il figlio “ladro” incarna il tifoso juventino, per cui le prime battute sono tutte nel disperato tentativo di Luca che vorrebbe convertire il figlio alla propria fede calcistica.

Invece, la relazione tra madre e figlia affronta la sfida dei comportamenti della ragazza, che lotta con un problema reale, ovvero la dipendenza dal gioco d'azzardo, che alza il tenore dello spettacolo completo, mantenendo comunque un giusto equilibrio tra commedia e dramma.

E’ coraggiosa, l’introduzione di un tema così delicato, ma essendo introdotto mentre si parla delle sfide legate al pagamento del mutuo, appena estinto, con toni allegri e sollevati, rimane come in un limbo fino alla fine della commedia, senza angosciare più di tanto lo spettatore, pur lasciandolo con il fiato sospeso.

Inoltre, l'introduzione del tema LGBTQ, con il personaggio di Pascal, lo zio Pasqualino interpretato magnificamente da Paolo Migliaccio, mostra l'importanza di non avere paura della diversità, che non viene mai messa in discussione, pur offrendo spunti esilaranti mai volgari anzi, che divertono ed inteneriscono insieme, sensibilizzando lo spettatore all’attualità del tema che solo in certi ambienti diventa più colorito e viene quasi ostentato, ma che è trasversalmente presente e dichiarato nella società contemporanea.

Per concludere, il tema delle festività natalizie, la famiglia tradizionale che resta un pilastro ed un valore anche nell’epoca dei social media, supportando la fragilità dei figli ormai adulti ma fragili e disorientati in un mondo di disvalori, le convinzioni sportive, la dipendenza dal gioco d'azzardo, sono temi attualissimi che però si introducono con efficacia attraverso una divertente interpretazione degli attori, grazie alla attenta regia di Antonino, mantenendo sempre un sapiente equilibrio tra commedia e dramma, che omaggia la tradizione e la narrazione del grande Eduardo.

Nel cast principale figurano Antonino Laudicina, Stefania Piscopo, Paolo Migliaccio, Manuela Ugliano e Nino Cuzzola. Poi, ruoli d'insieme interpretati da Mariarca Abate, Nunù Amoroso, Renato Ascoli, Alfredo Bruni, Massimo Carbonaro, Maria Assunta Coppola, Nunzia D'Anna, Milly Di Lauro, Peppe Ioio, Annamaria Laudicina, Martina Marchese, Peppe Marinaci , Vittorio Musella, Carlo Narciso, Francesco Ottata, Raffaele Picco, Anna Ragucci, Maurizio Riccardi, Mariarosaria Testa.

Nel complesso, lo spettacolo Pandoro, Ipoteca e Maradona è uno spettacolo divertente e coraggioso che si assume il rischio di ispirarsi all’opera originale Natale in casa Cupiello prendendone le distanze temporali, ma che calibra efficacemente commedia, ironia e dramma, sensibilizzando il pubblico ad una riflessione attraverso i temi presentati.

Congratulazioni al cast e troupe!

Hidden Fire Stars 7/10 ⭐️

Recensione scritta da Al Fenderico

©2023 The Hidden Review

Thursday, August 17, 2023

The Hidden Review: Bonding - Theatre Review

 


The THR has watched a one-man show called 'Bonding', written and performed by Cyril Blake at The Hen & Chickens Theatre, which played three nights as part of the Camden Fringe.

Blake plays Stephen Lewis, a self-confessed 'struggling' actor who loves James Bond; a love which he has inherited from his dad.
It is a beautifully told story that deals with the special moments and sometimes challenging bond within the relationship between dads and sons.
Blake's character talks to the audience in an energetic and often humorous manner, and asks the audience questions about their knowledge of the Bond franchise with great banter and rapport.
Throughout the play, there are references to James Bond's character, and even if one isn't a fan, it enthuses and enlightens.
The part when he recounts going to see the Bond films with his dad after his mother's death is touching as he pretends there's 'something in his eye' as he doesn't want to show he's emotional, but when he recounts that his dad has recently died and breaks down in tears, it's  very moving and packs a powerful punch.
Moreover, Blake holds the audience in the palm of his hand, dealing with themes that are difficult to perform as he touches on misogyny and the current climate of the 'Me Too' movement.
At the same time, he explores the importance of bringing Bond into the present era while managing to keep the pace flowing and interesting and not falling into caricature, but always playing the role with much charisma and charm whilst wearing his smart tuxedo suit.
On the opening night of the show it's remarkable  the way Blake deals with the noisy air con by breaking out to switch it off, showing  his confidence with the audience and the piece itself.
Overall, for any Bond film fans, this piece of theatre is a brilliant homage to the franchise while exploring the bonding between dads and sons, which is dealt with humour and profound humanity.

Hidden Fire stars 9/10 ⭐️
Review written by Tino Orsini

© 2023 The Hidden Review

Tuesday, August 1, 2023

The Hidden Review: After all these years - Theatre Review


THR has watched After All These Years at The Jermyn Street Theatre. The play, written by Giles Cole, won the Outstanding Theatre Award at The Brighton Fringe.

All These Years is a play divided into three acts and tells the story of relationships between two couples, now residing in a seaside town, as they reminisce over their lives and friendships over the years.

Moreover, starring four seasoned actors, Jeffery Holland (best known from TV’s ‘Hi-De-Hi’), Judy Buxton, Carol Ball, and Graham Poutney (who also directs), all at the top of their games and very much at home on stage.

Throughout the play, the characters had known each other for quite some time and were all in show business at one point.

Act 1 reflects on the two male friends, Alfred and Charlie, in a local pub and shows a fantastic bond between them as they banter about their lives and the woes of getting older.

Then the following acts play out with the two women, taking place in one of their homes after a swift set change, culminating in Act 3 two years later.

Furthermore, the dialogue is witty and sparkles as the characters look back over their lives and wonder whether they took the right decisions and risks to get where they are now.

The writing is very clever as it never goes into pastiche which keeps high audience engagement and anticipates what will happen next as secrets and revelations reveal themselves while changing the dynamics of their friendships for good.

Jeffrey Holland is outstanding as Alfred, as he plays out with great comic timing the despair of memory loss, and by the third Act, suffers a stroke, a delicate and moving performance.

At the same time, Judy Buxton gives a stunning performance by having hilarious lines and plays the dramatic tension with great intelligence.
Carol Ball's performance is terrific, and her revelation is touching and sensitive.
Furthermore, Graham Poutney plays a significant role in acting and directing while playing the former ladies man with much humour.

Overall, this bittersweet comedy full of themes is about getting older, love, and regret as well as acknowledging that it's never too late to make changes.

Hidden Fire stars 8/10 ⭐️

Review written by Tino Orsini

© 2023 The Hidden Review

Saturday, July 22, 2023

The Hidden Review: Love is Blue - Theatre Review

 



The THR has watched Love is Blue playing at The Drayton Arms Theatre from July 20th-22nd, just before heading to the Edinburgh Fringe. This two-hander, part of four plays produced by LAMBCO Productions, is about an unlikely encounter between a slick city trader and a young man who is homeless and he helps out by inviting him back to his loft apartment for a shower and some food.

The two leads are very engaging as they explore their new-found understanding of each other’s pasts;
Olly is an older man who is quite a drinker as he is grieving for his late boyfriend. The more introspective and somewhat naive younger man reveals his childhood trauma of being abandoned at six months old and adopted by a religious family.

Furthermore, the director Prav MJ follows a stylish direction as it takes us on an emotional roller coaster journey. The characters live out their attraction to each other and reveal, more and more, a respective pain blossoming into a friendship.

At the same time, the songs used throughout the play increase the technology aspect of the setting as Olly uses his Alexa device to play music that reminds him of the time he spent with his partner in New York.
They both find a bonding relationship by singing beautifully in unexpected ways, and the story reveals a fascinating turn when Olly tries to kiss Aaron.

Don Cotter’s script is superb as he draws out some beautiful moments while the pace increases engagement.
Andrew Ewart plays beautifully a younger character reflecting a street-wise and introspective characterization showing a delicate nuance and vulnerability.
Moreover, Sam Walter plays Olly, who performs his role with vigour and, at the same time, with great delicacy as he sometimes breaks the fourth wall while speaking to his dead lover;

However, he is moving as he deals with his loss, delivering a speech at his boyfriend’s memorial that is heartbreakingly beautiful.

Overall, this play is a great and original piece of theatre.

Hidden Fire stars 8/10 ⭐️

Review written by Tino Orsini



© 2023 The Hidden Review

Monday, July 17, 2023

The Hidden Review: So...you knew? - Theatre Review

 

"So...you knew?"


The THR watched at the Barons Court Theatre "So...you knew?" written by Bart Bartolini and directed by Maria Cristina Petitti. During a week of mixed weather, it was very apt to see a solo show dealing with the climate change crisis that was told in such a powerfully uplifting way.


The performer Bart Bartolini is terrific as he takes us on an energetic, funny and thought-provoking journey from the early eighties to the present day and beyond into the future, playing various characters with great confidence and charisma.

Primarily Willie, a former scientist who uncovers the truth about carbon dioxide emissions while working at Essen Mobil and balancing life with his wife and child.


Moreover, using a backdrop projector adds a very engaging multidimensional aspect to the show, whilst the lighting and overall design, at times overwhelming, keep the audience intrigued and mesmerised.


At the same time, the director Maria Cristina Petitti uses some interesting techniques and concepts that keep the momentum going throughout, like breaking the fourth wall and involving the audience in a quiz, and even Bartolini breaking out in dance, song or conversing in other languages.


However, this play is not only hugely entertaining and engaging, but it also educates and raises awareness of the global climate change crisis and is a stark reminder that we are all responsible for the future of our planet.


Overall, this show can go further afield and comes highly recommended to anyone interested in theatre performance with a strong message handled with lightness, humour and, therefore, a great deal of hope.


Hidden Fire stars 9/10 ⭐️

Review written by Tino Orsini


© 2023 The Hidden Review

Sunday, December 4, 2022

The Hidden Review: Bubu Killer King - Theatre Review



The Hidden Review has watched "Bubu Killer King" at Babolin Theatre, online theatre is odd, but, when executed well, it can be used to great effect. The challenge of an unknown medium poses a lot of opportunities, and Babolin Theatre takes this to the extreme in an exciting way. Bubu Killer King is ludicrous, absurd and comical, but much like a lot of Babolin's work, underneath this is a sharp satire, witty political commentary and a strong creative force. Bubu Killer King is essentially an unconventional interpretation of the Alfred Jarry classic 'Ubu Roi', and the banal absurdism of Jarry lends itself to a deconstructed theatre performance. At its core, it is a parody of Macbeth, which goes off the rails fairly quickly. The show is performed in solo performances which allow you to stumble your own way through the already confusing narrative of Ubu. While this presented an opportunity for differing perspectives and subplots, the story became hard to follow and confusing, but after all, this is Jarry and 'pataphysics, so a conventional three-act narrative was never on the menu.

The individual performances are generally good, and each scene adopts a different style, from cabaret to folk songs, mockumentary and director's cut the show is very meta and self-referential. Occasionally it gets a little too clever and steeped in irony, but on the whole, this works well. All in all, it is good to see theatre again, whatever form it takes. Babolin has undeniably worked hard to hold onto and capture the magic of theatre in new ways where the ones we are used to are no longer available. The show is undeniably innovative and creative, and it's good to know that political satire doesn't get put on hold by a pandemic, at a time when we must hold our politicians to account.
Hidden Fire stars 7/10 ⭐️

© 2022 The Hidden Review

The Hidden Review: Barber Shop Chronicles - Theatre Review



“One day. Six cities. A thousand stories”

The Hidden Review has watched Barber Shop Chronicles, written by Inua Ellams and performed at the Round House London, shown on National Theatre at Home. Inua Ellams is sharp, snappy and engaging as ever in his smash hit new play that throws us into barbershops across two continents. The vibrant environment of a barbershop is brought to life excellently by Ellams' and is used excellently to provoke questions, introduce themes and explore ideas, of language, cultural tension and boundaries.

This is a snapshot into an atmosphere distinct atmosphere, that holds a special place in the black men's culture, and everything that comes with it. Ellams' use of the Brechtian approach gives him the space to move quickly through the piece, employ comedic archetypes and stereotypes and get straight to the point. We follow experiences in barbershops that appear to be unconnected; however, Ellams subtle writing begins to weave this together to great effect. Jokes, family connections, and personal experience knit this collage of stories together into a well-rounded picture of a community.

Language in identity is central to this piece, and it is in Ellams' ability to ask questions without making it in your face, how does one oppress oneself when speaking the language of an oppressor, and how we escape that question. I occasionally struggled, watching this show online undermines a lot of the tensions and atmosphere, a shame, but this show is still definitely worth the watch.

The acting is excellent across the board, Fisayako (Samuel/Wallace/Timothy) stands out, toiling with tension and boiling over in the final act. The characterisation is a strong point of the show, slick multi-rolling and playful caricatures make for an engaging, fast-paced performance.
Hidden Fire stars 8/10 ⭐️

Official Trailer | 
 National Theatre at Home - YouTube

© 2022 The Hidden Review