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Ripped

I have been impressed with quite a few performances so far this Fringe, but the most impressive skill an actor can possess is the ability to elicit a gut reaction to a scenario that is beyond the ken of most audients. And Alex Gwyther left me barely able to stand up and walk out of the theatre.

In Ripped, Gwyther portrays a male rape victim masking his trauma by taking action to fulfill a gender stereotype; a stereotype he struggles to define throughout. Gwyther also embodies the victim’s associates, and just keeping the plot clear is a challenge that he rises to with the deftest of hands.

On one level, I want to praise Gwyther’s technical prowess: he is skilled and professional in every way. But the technical skill he demonstrates, regardless of how worthy it is of praise, pales into insignificance against the creative choices he has made in developing the monologue.

This is a story that balances the need to energise and engage with an edifying glimpse into the morass of toxic masculinity. That is a remarkable achievement, and I cannot describe how impressed I am with Gwyther’s achievement.

At the end of this performance, I applauded with the rest of the audience, but I could barely move, and had to take a moment gathering my thoughts before I could leave. That is the mark of a stellar performance.

 
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Posted by on Wednesday, 14 August 2019 in British Theatre, Edinburgh Festival Fringe, Theatre

 

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Burbage

burbageThere really is an over abundance of plays derived from the stories that surround Shakespeare’s life. Though I am getting a little bored of them, I am nonetheless drawn to further explorations of the context in which the Bard lived, and speculations about his times.

Burbage has been one of the better ones I’ve seen lately. Essentially a one hour rant imagined from the realities of Richard Burbage’s life and the common themes of the actor’s existence, it explores these with some depth and develops a strong image of the man left behind as the great playwrights and actors of the Elizabethan era fell off the twig in the early seventeenth century.

Richard Burbage, for those who’ve either forgotten about him or never heard of him (really?), was an actor who performed lead roles in the premieres of many now-canonical works of Elizabethan drama. Playwrights such as Shakespeare and Marlowe wrote roles with him in mind, and he was owner of the Globe Theatre with his brother.

In this monologue, he engages an imaginary young actor, Tom, who is seeking to continue his acting career past the roles of his youth.

Neil McGarry’s greatest achievement in his performance is creating a believable ‘Tom’ in the auditorium. While I am not a fan of monologues, and the idea of an invisible and inaudible second character in a monologue usually seems extremely naff, I was impressed to find myself fully engaged in the reality of the piece. The result is an engaging performance that gives humble recognition to one of the artists who contributed so much to the golden age of English theatre.

Despite some oddities of accent (which I will happily forgive with the knowledge that the English of Burbage’s day sounded a little more like the modern American accent than modern Received Pronunciation), McGarry was entirely believable and made a strong connection with his audience.

This was the last performance at the New York Fringe, but it’s likely to pop up again with the Bay Colony Shakespeare Company, and is worth a look if you’re an artist.

 
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Posted by on Friday, 22 August 2014 in American Theatre, Theatre

 

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