It’s the end of the universe – so of course Doctor Who – Time Fracture is utterly chaotic. It is also rather good fun.
“The gateway is active”
Time Fracture isn’t the first time Doctor Who has ventured into the world of immersive theatre. Punchdrunk’s The Crash of the Elysium was a triumph a decade ago so it’s about time (and relative dimension in space) that we got another and fresh from the success of their Gatsby experience, Immersive Everywhere have launched this huge new immersive endeavour. A time bomb has been dropped in 1940s London but its cataclysmic explosion is only due in the near future. Only us – a team of volunteers recruited by the Doctor – can save the day – sonic screwdrivers at the ready.
The need for #spoilers means that I can’t give too much away but the show takes full advantage of the cracks in time caused by the bomb falling to offer up vignettes that involve major historical figures, explore far-future technological innovation and nod to the rich and varied legacy of Doctor Who and its iconic characters. I can safely say I had two properly wish-I-could-hide-behind-the-sofa moments – one of which is ingeniously staged late on – and two hairs-on-end moments, one of which reconfirming just how brilliant Jodie Whittaker’s Doctor is. Continue reading “Review: Doctor Who – Time Fracture”
“I yearn as I burn”
Stephen Lanigan-O’Keeffe and Owain Rose’s Musical of the Year pops up as something of a surprise, a genuinely funny musical theatre extravaganza in the mould of something like Forbidden Broadway as it parodies any number of big musicals from the last 60 years. The conceit is a simple one – the year is 1955 and college sweethearts Rudy Brown and Lizzie Conlon are looking for ways to update a musical they wrote together. They decide to ape the style of the big award-winning musical of the year and when that fails, Rudy tries time and time again.
Their show is based on The Hunchback of Notre Dame, so we’re instantly given a helping hand in terms of the story being told. But even then, there’s a clever advancement of the travails of Quasimodo, Esmeralda et al that brings real interest to the songs, in addition to the pastiches that they engender. There’s an occasional urge to overegg the pudding in terms of making sure we ‘get’ it (the shows referenced are all in the programme) but if you can resist, there’s real joy in working out what’s coming next and its plot will be intertwined with the events of the show. Continue reading “Review: Musical of the Year, LOST Theatre”
“I’ve left my job and my boyfriend called Bob”
The Howard Goodall season at the Union Theatre, soon to move to new premises, has been one of its more enterprising moves in recent times. Love Story and the dreaming both had their moments but the third piece in the trilogy – Girlfriends – feels like the weakest of the lot. Bronagh Lagan’s production can’t do much to disguise the reasons that the show was a commercial flop on its 1987 debut but also adds its own complications with a truly unnecessarily awkward staging choice – how this wasn’t picked up on earlier on is baffling.
The show itself suffers from promising one thing – looking at the experience of working women in the Second World War – and delivering another – the romantic travails of two of them. The company is even split 10 to 2, women to men, and yet the focus settles firmly on this pair of love stories to the severe detriment of many of the supporting characters who remain scarcely sketched caricatures. That three men collaborated on the book – Richard Curtis and John Retellack along with Goodall – might be part of the problem. Continue reading “Review: Girlfriends, Union Theatre”