StageTalk Magazine’s Graham Wyles talks to Sarah Berger, founder of the London based SO & SO Arts Club which, although dedicated to all arts and artists, has an emphasis on theatre . . . A natural mover-and-shaker, once her mind is made up she gets on with whatever it is.
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“Here’s a question for all of us: why does theatre, which is labelled, ‘Children’s’, often involve greater freedom of creativity than other genres? It’s a question prompted having just seen Le Navet Bete’s new production of Dick Tracy. . . The great wonder of theatre is what you can get away with if done with conviction. It’s the great joy of companies like Le Navet Bete that they take our imaginations out for some vigorous exercise and they come back the better for it, having briefly rediscovered our inner child.”
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“. . . The soaring falsetto of Tim Driesen as Frankie Valli, harmonising with the other ‘Seasons’ in Ron Melrose’s arrangement and the full auditorium filling sound prompts an instinctive grin of approval. Without a ‘by your leave’ we are then into, ‘Big Girls Don’t Cry’ (something to do with a line from a John Wayne film) and ‘Walk Like a Man’, the import of which it seems needed explaining to producer, Bob Crewe (given a nice period camp by Matt Gillett). . . “
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Florian Zeller is a clever writer. Instinctively it appears, he has learned one of the peculiar strengths of the theatre; the relationship between spectator and actor, in tandem with one of the most precious of dramatic skills, how to manipulate the audience. We saw it in The Father and here in The Mother (the first of the duo) we have that rug-pulling ability that makes us question what we see and what the actors are seeing.
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” . . . Manuela Saenz’s is a ‘Girls Own’ story of the most breathless and exciting sort. Far from being someone dismissed as being merely a bit of skirt for Bolivar to come home to, she was a political activist, spy and combatant who rose through the military ranks to become a colonel in the army of liberation – a true heroine of the revolution . . . For a one act show this is just about as complete an experience as it gets and a piece of feminist historical retrieval that shines a welcome light on a neglected character.”
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