Chris Thorpe and Rachel Chavkin have developed a show in which ‘confirmation bias’ demonstrates the inbuilt tendency in people to observe and understand the world through a lens that seeks to reinforce their pre-established beliefs. Thorpe explains that the effect of ‘confirmation bias’ is often more powerful for emotionally charged issues. . . The show is an investigation, of sorts, into this phenomenon . . .
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StageTalk Magazine is two years old. Our team of fourteen has reviewed nearly 500 shows at around thirty venues between Birmingham and Bath and Oxford and Cheltenham. We have seen magnificent productions in some of the country’s biggest theatres and have seen two-handers in tiny 50-seater fringe theatres. Our reviews are often quoted by theatres and producers alongside those from the national press. Thanks to all who have supported and encourage us.
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But of course it is Tweedy and William Elliott who are the stars of the show, Tweedy as the omnipresent Buttons and Willie as the Baroness – Hardup by name, hard-up by nature. The high-spot of the show was probably the archery, with each in turn being strapped to a giant revolving wheel while the other fired arrows at them . . . If it is Willie and Tweedy that provide the building blocks it is undoubtedly Wyn Pearson’s rousing music which is the cement that binds the whole lot together.
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There is some impressive puppetry on show as Lion King and Warhorse influences are used to good effect. Aslan, the lion, is a gallant three man puppet, excellently voiced by the rich tones of Nuno Silva who also operates the head. He sounds every bit as grand as you would expect Aslan to be – ten feet high and 14 foot long – and you can almost hear the sound of dropping jaws from the auditorium.
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A languidly sensuous Sumaya (Sara Sadeghi) in traditional costume, is apparently passing time by inspecting piles of documents scattered over the floor. The overall picture, with the set of soft geometrical shapes (a fissure symbolically dividing the large circle of the floor panel) looks like a typical Russell Flint watercolour depicting a North African hot afternoon. An impression of heat pervades. Behind a screen the shape of another woman, Marie, a French girl (Lou Broadbent) is in a state of agitation . . .
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Consider the one-man show. What do you expect? A stand-up comedian, entertaining the audience with something funny that happened to him on the way to the theatre? A furrowed-browed actor delivering an intense emotional monologue? An interpretive-dance adaptation of a 350-year-old epic poem, featuring an almighty battle between all the angels of Heaven and Hell, the Creation of the world, and the Fall of Adam and Eve? . . . Sublime, ridiculous, hilarious, and devastating.
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