written and performed by Lucy Grace
at Pleasance Below, 3rd-29th August
Narnia doesn’t exist. Lucy’s just realised. She’s 26.
She’s still reading The Lion, The Witch and The Wardrobe. If the adventures of heroine Lucy Pevensie can’t help, then perhaps C. S. Lewis’s dedication to his god-daughter, Lucy Barfield, holds the key to another wardrobe.
Following 2015’s Garden ‘quietly revolutionary’ **** (Scotsman) Lucy Grace searches for the lives of Lucy: past, present and fantasy.
Unpicking a life less documented Lucy, Lucy and Lucy Barfield, is an intimate show about holding on to adventure, falling through the cracks and finding your own way back.
at Warwick Arts Centre, Tuesday 30th April 2013
I’m not a dog person.
They come in many shapes and sizes, but as far as I can tell all of them are one or more of the following: smelly, lumbering, yappy, excitable, dirty, cheeky or needy. Give me a cat any day of the week.*
For an hour earlier, however, I fell in love with a basset hound, a certain Major Tom. Lolloping around the stage during Victoria Melody’s solo show, he becomes more than just a dog. He’s one of us, and serves as a symbol for all the stupid things to which we as a species subject ourselves. Especially beauty pageants.
Continue reading “Major Tom” by Victoria Melody
at Warwick Arts Centre, Saturday 27th April 2013
“None of this is real, of course“
Last year, when I saw Fuel Theatre’s Ring, I complained that it felt like a case of form over content, and that Glen Neath’s text did not quite match up to the brilliance of David Rosenberg’s concept. Though I’d still broadly stand by that, Sleepwalk Collective’s AMUSEMENTS has cast some light on why perhaps it didn’t work, and it may now be useful to reconfigure my thoughts on the matter. Both pieces, you see, ask audiences to place earphones over their heads so that they may play with questions of experience and utilise all the tools of an immersive sound design, which is used successfully by both SC and Fuel. I think my problem, however, lies in the fact that by putting lots of people in a room and aurally shutting them off to the world around them, what both companies do is create an individualised experience which shuns – to an extent – the theatrical context in which it takes place. Continue reading “AMUSEMENTS”