Rob Compton is quite remarkable in the title role here. The pain and anger and fear he expresses through vocal guttural cries combined with the way he uses his almost entirely naked body to establish precisely how instinctive, alert and animalistic his existence, his life in subterranean caves, has caused him to be, is enthralling to watch.
Is a kiss with a fist better than none? Rodgers & Hammerstein’s Carousel: From 1945 to 2014 in a single hit I know what you want me to do. You want me to write a review – to churn out something interesting and witty about Morphic Graffiti’s production of Carousel at the Arcola. And yes, I can attempt to satisfy you in that to an extent – lest I fail entirely in my role as reviewer/critic/ writer, or whatever it is you wish to call me. I can tell you about the space – a space that, when entered, inspired involuntary and audible gasps from its unsuspecting audience (somewhat attributable to the humidity, sure, but mostly due to the theatre’s radical transformation), the band perched high overhead preparing to chirp, and more ropes, pulleys and levers than PGL. Stuart Charlesworth’s design is simple and yet sumptuous, suggestive rather than … Read more