DRAMA
DARK HUMOUR BRIGHTENED BY LIGHTBULB MOMENTS
dark stage space, with one brilliant moment coming as the original trio of Dan Norton-Smith, Freddie Maher and Barney Mills turned their lamps, from dance partners into musical instruments all in one slick move. At the same time, Kudiabor-Thompson sang into a bulb suspended from above. This truly was a spine-tingling opening. It takes some degree of courage to tackle the subject of race in any creative work, let alone one that is assessed by an examiner; yet the dignity with which this ensemble maintained such a beautiful and ambitious performance eliminated any potential for concern. In realising the key metaphor of the novel so clearly with the repeated use of the light bulbs to symbolise our hero’s seizure of power in a quest for identity, this ensemble never lost sight of the vital political significance of the story they were telling. They must not only be praised for narrative, however, as the sheer theatricality of certain physical sequences stick in the mind even months later. With a thrumming rock ‘n’ roll soundtrack, the portrayal of protests in America’s Deep South and the Harlem riots was both powerful and respectful at the same time. Once again, then, a vintage year of work from A2 Theatre Studies students. What struck me most was the sense of ambition present in both pieces, with both genre and subject matter so difficult to balance. All the performers were more than vindicated in receiving exceptional marks for their work. Bravo. The four-strong cast induced laughs throughout with the rakish sense of charm they brought to their characters and their story
hapless interrogators, the miscreants of London’s criminal underworld and stammering buffoonish Nazis in this farce of the highest order. Particular highlights included a chase sequence that saw Amos Edwards’ unfit copper slowly fall away from the chasing pack, despite much huffing and puffing, not to mention mirth from the audience. A particularly slow parachute descent also brought much laughter after its intense opening. It is telling that, despite his occasionally appalling behaviour, we did not resent the potentially deplorable protagonist, his plucky adventures always entertaining and endearing him to us. The group were terrific as an ensemble and credit must go to all involved, including Hector Cubberly- Lobb and Max Edmund for their comic timing, precision detail and glorious depiction of the WAAFS taking tea at Lyons Corner House. From waiters to secret agents, from cabbies to criminals, Agent ZigZag was truly brilliant fun. Following the laughter of Agent ZigZag came a piece as different in tone as possible, as another foursome took to the stage for an adaptation of Ralph Ellison’s racially charged Invisible Man . As the lights came up, a near-balletic sequence ensued with three actors dancing with lamps to the crooning of Louis Armstrong. All together, the bulbs in the lampstands were lit. Suddenly, the trapdoor in the stage was thrust open, spilling light onto the stage as Darrius Kudiabor- Thompson’s head suddenly appeared, framed by spectacularly bright lamps as he eyeballed the audience. So striking and powerful was this moment that it felt as though it went on for minutes, not seconds. Armstrong’s haunting song ( What Did I Do To Be So ) Black And Blue lingered and still, single lights continued to invade the
Agent ZigZag and InvisibleMan A2 Theatre Studies Devised Drama 2017 REVIEW
Oliver Norton-Smith (OA)
T his was a double bill of
scintillating theatre, packed full of invention, wit, emotion
and entertainment. It is testament to the creativity of the groups who had devised these pieces that the stories told could not have been more different. Kicking off the stellar evening, in Agent ZigZag we were taken on a journey from London’s criminal underworld to a life behind enemy lines as we were introduced to the smooth and stylish conman Eddie Chapman, played by Aidan Williams. With one eyebrow firmly raised, the four- strong cast induced laughs throughout with the rakish sense of charm they brought to their characters and their story. From blowing up safes in London to parachuting over occupied territory via lunch at Lyons Corner House, the danger and excitement of Chapman’s life as a double agent was conjured with skill and panache. Along the way we were introduced to
116
Made with FlippingBook Online document