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croydonbites 8 oct
Review by Stephanie Josephs
In a black box studio on the upper levels of Matthew’s Yard audiences were treated to three different scratch performances from local talent.
The Benefactress by Gill Manly
A medieval looking table and chairs sets the scene for us to travel back in time. The beat of a staff hitting the ground introduces the story, as Gill Manly and Katie Rose enter through the aisle of the audience to the rhythmic chanting of a crow. The language of writer Manly’s theatre piece is wonderfully descriptive and rich, taking us to a 'Meechum' (modern day Mitcham) of years gone by. Once introduced, the character of Margaret Bramcott, played by BAFTA award winner Joanna Scanlon, beautifully delivers her monologue, grounded by great tone and gravitas which quickly turns the show towards darker themes of abuse and imminent plans to exact revenge for a local woman's suffering. The three performers, all dressed in period pagan costume, command the stage, with the character of Sarah Gedge at one point donning a beautiful black feathered cape, reminiscent of the ominous one eyed crow. It is exclaimed in the piece that 'women are thought of as chattel', yet in contrast to its description of domestic mistreatment there is an air of empowerment, of claiming some control through the three female figures on stage. The show is a snippet of gothic, feminist revenge.
Ready Steady by Anita Wadsworth
Poet and mother Anita Wadsworth warmly and vulnerably welcomes us into her world with a series of short-spoken word poems weaved within a motivational talk on how we spend our time.
With an easy style, Wandsworth guides us through personal rhymes and song exploring how in this modern world we are driven to cycles of distraction, indecision, and guilt. Whether that be time running away and the dreaded '10 to 3pm' coming around too quickly, missed opportunities of youth or social media spirals that lead you to question 'what if I were a dog?'.
Throughout, Anita uses comedy and word play to make audiences consider treasured moments and to do lists. The impact of the audience interaction is mixed, with the encouragement to speak to each other in the beginning and support her grand re-entrance more successful than when we are tasked to make our own lists with pen and paper stashed under the chairs. However, overall, it makes for an enjoyable and entertaining one woman show.
Love Warrior by Shaniqua Benjamin
Bound by both feet and hands and tied to a chair, Shaniqua Benjamin's show has a dramatic start.
Shaniqua encourages audience participation with a series of questions enquiring about their wellbeing (ironic as she is the one tied up!) and endearingly asking them to keep her hydrated and assist with her release. Warming up into the performance, and as Croydon's first Poet Laureate, Shaniqua showcases spoken word through storytelling. An experimental show, which could perhaps be developed further to give more context, Shaniqua successfully spreads messages of love and what it means to feel fully without suppression. The metaphor of restriction is explored through the visual with the chair as more emotions are released throughout the show and she goes from bound to free. She lands her message with intention: to get comfortable sitting with the discomfort of the expanse of your feelings and not being afraid to use your heart to share love.
In a black box studio on the upper levels of Matthew’s Yard audiences were treated to three different scratch performances from local talent.
The Benefactress by Gill Manly
A medieval looking table and chairs sets the scene for us to travel back in time. The beat of a staff hitting the ground introduces the story, as Gill Manly and Katie Rose enter through the aisle of the audience to the rhythmic chanting of a crow. The language of writer Manly’s theatre piece is wonderfully descriptive and rich, taking us to a 'Meechum' (modern day Mitcham) of years gone by. Once introduced, the character of Margaret Bramcott, played by BAFTA award winner Joanna Scanlon, beautifully delivers her monologue, grounded by great tone and gravitas which quickly turns the show towards darker themes of abuse and imminent plans to exact revenge for a local woman's suffering. The three performers, all dressed in period pagan costume, command the stage, with the character of Sarah Gedge at one point donning a beautiful black feathered cape, reminiscent of the ominous one eyed crow. It is exclaimed in the piece that 'women are thought of as chattel', yet in contrast to its description of domestic mistreatment there is an air of empowerment, of claiming some control through the three female figures on stage. The show is a snippet of gothic, feminist revenge.
Ready Steady by Anita Wadsworth
Poet and mother Anita Wadsworth warmly and vulnerably welcomes us into her world with a series of short-spoken word poems weaved within a motivational talk on how we spend our time.
With an easy style, Wandsworth guides us through personal rhymes and song exploring how in this modern world we are driven to cycles of distraction, indecision, and guilt. Whether that be time running away and the dreaded '10 to 3pm' coming around too quickly, missed opportunities of youth or social media spirals that lead you to question 'what if I were a dog?'.
Throughout, Anita uses comedy and word play to make audiences consider treasured moments and to do lists. The impact of the audience interaction is mixed, with the encouragement to speak to each other in the beginning and support her grand re-entrance more successful than when we are tasked to make our own lists with pen and paper stashed under the chairs. However, overall, it makes for an enjoyable and entertaining one woman show.
Love Warrior by Shaniqua Benjamin
Bound by both feet and hands and tied to a chair, Shaniqua Benjamin's show has a dramatic start.
Shaniqua encourages audience participation with a series of questions enquiring about their wellbeing (ironic as she is the one tied up!) and endearingly asking them to keep her hydrated and assist with her release. Warming up into the performance, and as Croydon's first Poet Laureate, Shaniqua showcases spoken word through storytelling. An experimental show, which could perhaps be developed further to give more context, Shaniqua successfully spreads messages of love and what it means to feel fully without suppression. The metaphor of restriction is explored through the visual with the chair as more emotions are released throughout the show and she goes from bound to free. She lands her message with intention: to get comfortable sitting with the discomfort of the expanse of your feelings and not being afraid to use your heart to share love.
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