Writer: William Shakespeare
Director: Nathalie Bazan
Talk about being mugged in broad daylight by the Muse in the very lap of The Bard’s birth and passing
backyard. Talking aboutLying Lips – Flaming, more like.
Spicy, punchy of pace, funky and spunky, Lying Lips Theatre Company have their Dog Days in ascension and are barking mad up the right tree. Coming into their own, conjuring up a mid-Summer (ish) afternoon dream come true with a one-off performance of Bill The Quill’s reputed last play in the open-air, three-sided stage thrust, Holloway Garden Theatre on the doorstep of the RSC Swan.
It riffs on well-honed themes of silly giddy love at first sight, Miranda/Ferdinand – Romeo/Juliet (albeit, this time with a happy end) and a familiar, most irritable Enchanter feeling ill done by daylight and prone to using a surrogate mischief-maker to do his naughty business – Prospero/Oberon – Puck/Ariel. Point made.
Throw in and in Max Falcus’ utterly bladdered, Stephano, throwing up hither and thither, what’s not to like? Notwithstanding one’s purview of temperance, or lack thereof, Liam Wadsworth as Caliban maintains a distinctly articulate menace and malice about the role, his close encounter with alcohol not reducing him to a drunken clown.
Of the unpredictability of unpredictable weather, not least inevitable ambient sounds, this band of sisters and brothers brooks no nonsense. A River Avon bank of narcissistic swans (Stratford Chapter) did some heckle-honking. (Give them a beak!) Low-flying aircraft? Swatted away as though flies to unwanted noise. Wedding bells carillon? Ding-dong Matron. As for the flocks of stroppy seagulls? Lying Lips invites them to blow wings blow. A miraculous draft of wind accompanies one of Prospero’s spells and the – it all ends happily after all – denouement is drenched in miraculous beams of sunshine.
Nick Hessling’s Prospero holds the stage; he’s Gandalf meets Canned Heat meets Poseidon in Jason and The Argonauts Clashing Rocks scene (Dir. Chaffey, D. 1963).
This is an utterly engaging ninety minutes of fly-by-the-seat of thine doublet and codpiece with a judiciously pared-down, juicily sympathetic adaptation of the text. Pre-performance,odd-ball sprites and ethereal faeries strange spell-scuttle and skittle about the auditorium providing one or two overseas visitors a forgivable, discreet smartphone snap for the folks back home. Throughout the performance weird scenes of the mind are teased as body-tight, aqua-marine themed costumed spirits hissy-fit and strut upon this stage with arcane abandon. Jas Armstong’s barnstorming Ariel is no fawning supplicant to Prospero’s ever-demanding tasks, insistent in his keeping to his promises to set her free from her entailments. The silly goings-on are constantly teased by Sycorax (Lauren Ebrey), Juno (Hannah Louise) and Aleesha Gill’s Ceres.
A delightful twist engages particular attention with Ola Jeboda taking on the role of Queen, yes Queen, Alonso. And what a needy, crybaby, brain-free fuss-pot she makes of her. She has lost her son after all in the shipwreck tempest, or so she believes. No spoilers here.
A glorious hullabaloo goes up for the Rock Chic named Chloe Delphino as Miranda. A seemingly gauche and giddy girl, she gives her dad the occasional what for but it all comes to nought when she first sets eyes on, and most understandably so, the dashing Ferdinand (Oliver Brooks). Love at first gawp and it’s metaphorical shipwreck time again as Captain Love is blindfolded on the bridge, setting a full-speed ahead course for the mother of all icebergs. Deliciously captivating as well are the courtiers as they rant and bant with waspish conceits. The man you never want to be stuck in a broken lift with, Gonzalo, the air-head eternal optimist with poseur kiss-curl, is utterly owned by Ross Gilby.
Meanwhile, conspirators to regicide, Antonio and Sebastiana (Alexander Wolverton/Roseanna Swani) are, let’s face it, delightfully superb at being utterly crap about it. Malice in the palace is really not their gig but they provide near pantomime fun in the making of it. Fey and foppish, their double-act kitsch demeanour is a complete delight.
Lying Lips has serious form. Their past productions include Euripides’ Hecuba and Ford’s Tis’ Pity She’s A Whore. These are mighty works in the canon and were lent equal might – much more than just young upstarts’ lip service. So, it is revealing that they can allow themselves some slack and indulge in a rollicking romp. Nathalie Bazan has nurtured a unique ensemble here. Not a whisper of luvvy about them, dedicated to their craft. Way to go kids. Name-check an essential for Assistant Director, Phoebe Benson. Fun-filled to the max, what a garden of utter delight.
Reviewed on 10 August 2024
The Reviews Hub Score
Mugged by The Muse in broad daylight.
I also went to watch this adaptation of the tempest and thoroughly enjoyed it. However after readying this review, I am surprised that there is no mention of Trinculo. The actor who I believe is called Joey Young was the cast member who kept the audience laughing and gave us a fun character who I was searching for on stage every scene. He was also many of the audiences favourite character so I am disappointed not to see him mentioned at least.
We hugely enjoyed this wonderful retelling of The Tempest. Well done to all at Lying Lips!
I have to echo the above comment, however, to express surprise at no mention in this review of Joey Young’s Trinculo, who was undeniably scene-stealing and whose physical presence was deft, commanding and hilarious!
What a fabulous ensemble and very clever staging — I can’t wait to see what Lying Lips has in store next.
Thank you for an amazing review , it means the world John. I am so proud of all of my cast who really gave their all from day one until show day and thank you to all audience friends and family who supported. Until the next one – Love and Crosses Nathalie Bazan – Director / Artistic Director of Lying Lips Theatre Company
I must also reiterate the points made by others, where is the mention of Trinculo? He was not only entertaining but I would go as far to say he had the best characterisation, physicality and energy on stage! You could tell from a mile off that the actor has professional training and you could also tell others on stage did not! I think the cast worked well over all but in my opinion, some actors on stage are better suited for the world of screen acting. Most of the audience I spoke to after the show all agreed that Trinculo was the star of this performance. It felt a bit strange to me that even ensemble characters got a name mention in this review but the actor playing Trinculo did not? I do hope this was an oversight and there is no malice.
I must say that this review sounds and feels more like a description of the play rather than a review.