REVIEW: Derren Brown (The Lowry, Salford)

Derren Brown returns to The Lowry with Underground
Derren Brown returns to The Lowry with Underground
guest reviewer: Elise Gallagher
upstaged rating: 

Fresh from a sell-out London bill, Derren Brown returns to Manchester with Underground his latest stage show which brings together a collection of Brown’s previous and favourite stage work. However, do not let this put you off, for I would strongly predict that there is something new to be seen for even the most die-hard fan.

I have seen Derren Brown once before and it would seem Derren’s charm and showman ship has only grown. Underground exhibits the ingredients needed to make a world class show. Brown oozes class, charm, intelligence and just a glint of cheekiness. However, I feel Underground highlights a much more sensitive and sentimental quality to not only the show but the man himself.

As you may imagine, audience participation is key to the show, especially for the utterly jaw dropping moments. It takes genuine skill to carry a show of such ferocity alone, with only the slightest help from a gorilla and a kangaroo. The show expertly mixed culture, emotion, grief and sheer exhilaration into a perfect cocktail which we gulped down unconsciously, craving more.

I feel quite torn when considering the wonder of the mind. Half of me wants to know exactly how he does it, every unconscious clue we give on a day to day basis. However, the other half of me thinks that this would only ruin its attraction. Some things should just remain shrouded in mystery instead of being examined for all to see.

Someone remarked that this being a showcase show may as well be his goodbye tour, I sincerely hope not. The world needs a bit more magic at the moment and I’m sure he has much more up his sleeve.

It is quite hard to write a review for a one man show whose thrill factor relies solely on secrets and surprise, my lips are sealed. But I leave you with this, Underground is a true masterclass in showmanship and psychological genius. A must see.

-Elise Gallagher

Derren Brown’s Underground is at The Lowry, Salford until Saturday 5th August 2017 and continues at The Playhouse Theatre, London in September 2017.

REVIEW: Taha (The Lowry, Salford Quays)

TAHA
Reviewer: Karen Clough
upstaged rating: 

Taha follows the inspiring story of Palestinian poet Taha Muhammed Ali (Amer Hlehel) – a story of humanity and hardship, hope and devastation, opportunity and misfortune, discovery and challenge, achievement and survival. The story is told from the perspective of Taha, recounting his life journey in a nostalgic, fireside storyteller style.

The stage design (Ashraf Hanna) was starkly minimal, a successful means for Taha’s story to hold the stage alone, supported by the thoughtful use of simplistic lighting (Muaz Jubeh) and carefully considered musical interjections (Shehadeh Habib Hanna) to punctuate the production. Deliberately unattractive bursts of strings accompanied the tone of adversity well. Even Taha’s wardrobe was understated and modest, a reflection of the title character and also a non-distraction from the story’s message.

Born to parents who had suffered tragic losses and were cautious to celebrate him, Taha was a curious and creative boy, who recognised at a young age there was a role for him in taking care of his family. Keen to develop himself and provide, the audience followed Taha’s transition from inquisitive boy to proud and resourceful young man, who grew to earn celebration by others. Taha’s love of culture, learning and poetry was portrayed beautifully by Hlehel. Poetry marked a range of poignant hopeful to crushing life events and was translated and projected onto a screen behind Taha, recited simultaneously. The use of language in this way was powerful and gave Taha credibility and integrity whilst reaching across the audience.

Against a backdrop of adversity, religion, politics, war and loss, the story of Taha and his poetry is more concerned with the emotions and fortitude of his human experience and is told in a heart-warming and self-deprecating style. Like Taha’s poetry, the story gives the modest and relevant message that our focus should be drawn to humanity, informed but not dominated by surrounding politics. Looking around at the audience, they watched with an air of respect and endearment. Amer Hlehel delivered his solo performance as Taha with an honesty and authenticity which engaged the audience throughout, demonstrating a true talent for conveying human experience and emotion, generating empathy for Taha with ease. Hlehel deserved his enthusiastic applause from an audience entirely on their feet at the end.

A thoughtful production with superb acting and direction (Amir Mizar Zuabli), though as a solo performance, for me, it was just a little too lengthy.

-Karen Clough

Taha continues at London’s Young Vic from 5th July to 15th July 2017 and tickets are available here.

REVIEW – Different is Dangerous (The Lowry)

 
Date: 14 may 2015
Upstaged Rating: 

Different is Dangerous aims to give a unique insight into the lives of the Asian community living in Leeds. Devised and performed by Fadia Qaraman and Nyla Levy of Two’s Company, the piece aims to explore multicultural life, the challenges of ethnicity and present the voices of Asian Leeds locals.

Qaraman and Levy use a combination of fictional monologues and a technique called headphone verbatim as a means of presenting these personal stories from within the Asian community living in Leeds. The idea is that the performers each wear a set of headphones which relays an audio script to them – each actor then aims to recite this audio script not only word for word but with exact precision, capturing the nuances and speech patterns of the original interviewee. The idea is that there is as much information embedded in the way somebody speaks as the words that they actually use.

Setting is very minimalist consisting of just four chairs and Qaraman and Levy only have 2 scarfs as props, but this is the idea of this type of theatre – it is not meant to be highly visual. Both performers shift between the different characters with ease as they tackle subjects such as unprovoked attacks, relationships and politics. The two creator-performers also reveal some controversial viewpoints as well as some lighthearted and humourous conversation.

Qaraman and Levy certainly manage to keep the audience listening throughout the full 50 minute experience. And despite the performance style not being highly visual, you do still manage to get lost in the everyday voices, opinions and beliefs of the community in Leeds.

Different is Dangerous certainly succeeds in getting people to think and discuss cultural identity in Britain, raising the profile of a topic that some people still feel uncomfortable talking openly about.

-Kristy Stott