Poetry

Chef – Soho Theatre, until 04 July 2015 (Tickets)

There are few things more satisfying to a regular theatre goer than watching an actor emerge into the spotlight. Go and see enough plays and you soon realise that the same familiar faces keep on cropping up. The personal nature of the theatre – the intimacy of the shared space giving a sense of an assumed connection between audience and actor – can lead to a greater sense of investment and emotional connectivity with the actor than you find in film. Seeing actors like Phoebe Waller-Bridge (Mydidae and Fleabag) or Rudi Dharmalingham (The Events and Oresteia) develop has been the biggest privilege of writing this theatre blog over the last 4 years.

To that list it is safe to add the considerable talents of Jade Anouka (Henry IV and The Vote); currently at Soho Theatre with Sabrina Mahfouz’s Fringe First-award winning Chef. A one-woman show, Chef gives Anouka free range to showcase the considerable skills and highly kinetic performance style that was so captivating as a completely atypical Hotspur in Phyllidia Lloyd’s radical and brilliant Henry IV.

Jade Anouka in Chef @ Soho Theatre As a reviewer there is a lot of trepidation in viewing a one-person show. It needs an exceptionally high level of writing and acting talent in order to keep an audience from start to finish. Without any actors to bounce lines off there is a risk that the show will soon become one-note and tonally flat. A poor script can sometimes be hidden by action between characters but it dies on the mouth of even a talented actor, whilst a poor actor trying to deliver a strong script is one of the more painful theatrical experiences.

Sabrina Mahfouz is a recipient of a Sky Arts Scholarship Award for Poetry, and this background may be what grounds the play in the rhythms and structures of performance poetry. Whilst clearly a play, it feels highly sensitive to the flow of language, and is at times more interested in the beauty of language than capturing the naturalism of delivery.

It is unlikely that anyone would say “I’d never been in love / but I decided that I’d know when I was / because the man would remind of the way/ seagulls glide out of stalactite clouds, / suddenly, / smoothly, / that’s how he’d find me” but within the show – delivered after describing how she had left her estate and joined her dad on a fishing boat – it is given the dreamy lyrical wonder of someone who has just begun to realise the limitations of her world.

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Micro-review: A Dream Turned Sour – The Tiger Lillies @ Battersea Arts Centre

It remains questionable whether A Dream Turned Sour can be considered as theatre but since it acts as one of the closing shows of the 2014 LIFT Festival, and has otherwise been ignored by the massed ranks of music critics who are clearly more enamoured by the potential for a dream collaboration between Dolly and Metallica at Glastonbury than in writing about this warped, reimagining of the celebrated poetry of the first world war, it is up to Civilian Theatre to share its thoughts.

To those not experienced in The Tiger Lillies it is a forbidding opening – ‘Death’ repeated over and over in a gravelly, atonal voice that oppressively (and impressively) fills the great space of the Battersea Arts Centre main hall. It is the start of a performance (and with The Tiger Lillies it most certainly is a performance) by a band at complete ease with what they do – and so they should be having successfully mined the furrow of alternative cabaret for over two decades.

Their strange mix of Kurt Weill-esque cabaret, gypsy, gothic humour, and operating in a register that veers between the rasp of Tom Waits and a startling falsetto underpinned by a ferocious operatic power is quite unlike anyone else. It is certainly hard to imagine another band undercutting the reflexive conservative styling that we tend to put on the work of the war poets with quite such vigour and zeal.

The Tiger Lillies have reclaimed the bitterness and the hatred, the terror and the contempt for the generals back home, that often gets lost amongst the plaudits and the GCSE-syllabus analysis. There is a black humour in their renderings of ‘Rendezvous With Death’ and ‘God How I Hate You’ that forces you to go back to the original readings to realise the horror that the lines contain.

Others, like Wilfred Owen’s ‘Nothing Ever Happens’, sound so at ease in their new home it is hard to imagine them in any other way. However the disgust never goes away and the venom builds to such a furious, glorious crescendo of disgust at those most famous lines ‘Dulce et decorum est / Pro patria mori’ that the audience must nearly cower at the assault.

Despite the most curious style of delivery, there is great articulacy in the delivery by frontman, Martyn Jacques. Each poem has been carefully thought through to maximise the impact through presentation and the words are never lost despite the cacophony of noise coming from the three piece.

Fans of The Tiger Lillies can be assured they have not dampened their natural tendencies as a sop to the serious subject matter, and fans of the war poets can be assured that the poems have been treated with the care and intelligence the power of the writing deserves.

Listen to Dulce et Decorum Est by The Tiger Lillies