Tuesday, 30 September 2014

Next Fall @ The Southwark Playhouse


“I want you to love me more than you love Him”.

What happens when religion gets in the way of love?  That’s the key question in Next Fall, a play in which homosexuality is normalised and religion is the mark of the outsider.  When atheist Adam (Charlie Condou) discovers his boyfriend Luke (Martin Delaney) is a Christian, it forces him to question his own beliefs.  Is his lack of faith holding him back from true love?  And with Luke on his deathbed in hospital, what will become of their relationship in the afterlife?  Their relationship is told through flashback as we witness the couple overcoming their religious differences to make their relationship work.

Next Fall is directed by Luke Sheppard, following his exciting production of In The Heights earlier this year.  Yet again he is bringing a Broadway hit to the UK for its premiere and here he directs with clarity and a sympathetic touch to portraying life in modern New York.  He is undoubtedly a director to keep an eye on.

On the surface, the play is a typical hospital drama.  It all begins with an almighty crash and, with Luke in a coma, his nearest and dearest are forced together to confront their differences.  So far, so typical.  Yet beneath the gentle sit-com rhythm of this modern-day play, it simmers with tension and thematic depth.  Writer Geoffrey Nauffts has delivered an emotional wolf in sheep’s clothing: nuanced, easy to watch, but offering an honest and thought-provoking exploration of relationships.

This is clearly a man’s world, however, the female characters used for little more than comic relief.  Where the core narrative revolves around the central couple and Luke’s unaccepting and religious father Butch (a menacingly macho Mitchell Mullen), his mother Arlene (Nancy Crane) and Adam’s friend Holly (Sirine Saba) are pushed to the sidelines.  That said, Crane has both impeccable comic-timing and a subtle touch, whilst Saba is loveable as the hippyish, yoga-devoted, fag hag friend.  Ben Cura is also a joy to watch as Luke’s friend Brandon.

The real heart of the production, however, comes from the believable and genuine portrayal of Adam and Luke from Condou and Delaney, who perform with truth and conviction.  Condou is cynical and sassy as Adam; Delaney’s Luke is a well-rounded character struggling with both his acting career and his sexuality.  Their relationship shouldn’t work, but somehow it does.  Stunning naturalistic performances alongside some touching incidental music from Pippa Cleary elevate the piece to something beautiful.

4/5


Watch: Next Fall runs at the Southwark Playhouse until 25th October.



Photos: Robert Workman

Monday, 29 September 2014

Pride (2014) - Matthew Warchus



It’s easy to dismiss Pride as a gay Billy Elliot.  After all, it’s another film that subverts our views of machismo miners.  That, however, would undermine the importance of this film – perhaps the most remarkable equal rights film this decade.

Note ‘equal rights’ there.  This isn’t strictly a ‘gay’ film, it’s a film that celebrates equality for all.  That said, the changing views of homosexuality plays a big part in the film.  At the start “gay” is a dirty word that can barely be spat out by the cast of characters; by the end it’s something to be celebrated.  Long may that continue.

Set in Thatcherite 80s Britain and based on a true story, Pride sees a group of young homosexuals fund-raising to assist miners in a small Welsh village during the miners' strikes.  If anyone can understand the persecution of the miners it’s ‘the gays’.  What brings them together is a common enemy: Thatcher (apparently, she’s fairgame now she’s dead).  This is a film about the power of community spirit, the collision of two contrasting communities and the unlikely alliances that are formed.  One particular scene sees the Welsh community one by one rising up in song - it's a powerful statement.

There’s plenty of comedy in the attempted integration.  There’s a real contrast between the grey, downtrodden life of the miners and the eccentric, colourful London.  The film does a wonderful job of recreating the thrill of 80s London – the underground clubs, the bizarre fashions and the brilliant soundtrack (Bronski Beat themselves make an appearance singing their seminal hit Smalltown Boy).  Both communities are able to open the eyes of their opposites to a brand new world.  Seeing a group of elderly Welsh women in a gay leather club is hilarious, and seeing Imelda Staunton waggling a dildo around is worth the entrance fee alone.

Of course, any community is made up of individuals and the narrative of Pride consists of a combination of personal, touching human stories.  Ben Schnetzer plays the leader of the gay movement, Mark – an incredibly brave and forthright figure with a dark secret; Jessica Gunning plays a wife and mother trying to take hold of her life; Andrew Scott’s Gethin is a man exiled from his home based purely on his sexuality – the scene of him revisiting his family is particularly emotional.  The main protagonist, though, is Joe (George MacKay).  For him Pride is one boy’s coming out story as he fights against the public and his family to stand up for his beliefs, something that personifies the sentiment of the film at large.

There are a number of darker issues that are somewhat glossed over here.  The struggles of the miners themselves, their way of life and their apparent emasculation is barely mentioned; the Aids epidemic is only alluded to; and we never discover the fate of Monica Dolan’s Marion, the only clear villain of the film (Thatcher aside).  As such, Pride could be said to sugar-coat its narrative.  Instead, this is a film of overwhelming positivity with an eminently quotable script; a drama first and a history lesson second.  Charm simply radiates from the screen.

Though one-sided, Pride is a wholeheartedly British film: a wholesome and feelgood comedy-drama.  Isn’t that what we do best?  It’s enough to inspire pride in our communities, pride in our human rights and pride in Great Britain.

4/5

Saturday, 27 September 2014

Björk: Biophilia Live (2014) - Peter Strickland & Nick Fenton



Björk's Biophilia project was never intended to be just an album.  Released in 2010, it came alongside an app used to compose the music, an educational programme and an extensive two year, 70 date world tour.  This film of the tour's final night at London's Alexandra Palace is the culmination of a unique multimedia venture.

Of course, this being Björk, Biophilia Live is no mere concert film.  The mantra of the project was to combine nature, music and technology.  That continues here.  Through music and visuals, she explores the awe-inspiring power of nature and its relation to human emotions through a grand sense of scale ranging from the microscopic to the cosmological.

Following an introduction from the godfather of nature, David Attenborough, the film combines the live concert - shot with artful cinematography from Brett Turnbull - overlaid and interspersed with macro, aerial and time lapse photography, as well as kaleidoscopic imagery from the app.  Visuals and sound become symbiotic: Virus for instance is accompanied by images of cells and blood that appear oddly delicate and romantic; Cosmogony is paired with suitably celestial planets; lava flows erupt from the screen during Mutual Core (though it doesn't quite match the inventiveness of the official video).  The overall effect is one of hypnotic, earthly synesthesia.

As a film, more could perhaps be done to explain the meaning behind the project, the construction of the newly created instruments, or to give an insight into the people onstage.  For that, though, there's always the When Bjork Met Attenborough programme.  This is, after all, Björk's artistic vision not a documentary from the two directors.  Their input is merely to contain her otherworldly aesthetic on-screen.

The concert itself, meanwhile, is an extraordinary spectacle.  Musical tesla coils spark with electricity; the 'gravity pendulum harp' swings perpetually, ominously; imagery is displayed on screens; and Björk is accompanied onstage by a ghostly, all-female Icelandic choir and their ritualistic dancing.  The set includes a handful of songs from her extensive back catalogue (notably Hidden Place, Isobel, Possibly Maybe and One Day - performed on hang drum), all of which fit neatly into the Biophilia aesthetic.  It's perhaps disappointing that some other favourites weren't included, but this isn't meant to be a greatest hits.  Yet whilst it's never quite the same as being there in person, the film certainly captures the thrill of the live experience.

Most of all, the film highlights the sheer force of nature that is Björk herself, above any distracting accompaniments.  In an abstract, shell-like dress and flaming afro, she marches around the stage singing with a voice that's truly elemental: fiery, whispering, lyrical and guttural.  She remains humble throughout, however, meekly thanking the audience after each song.  If the whole Biophilia project has succeeded in one thing, it's delivering to the world this powerfully innovative, sexually-charged and idiosyncratic Icelandic talent.

4/5

Watch: Björk: Biophilia Live screens at the London Film Festival, is released in cinemas on 17th October and on DVD from 3rd November.



The Play That Goes Wrong @ The Duchess Theatre


So it's a play...and it goes wrong.

Yes, this production from Mischief Theatre Company simply does what the title suggests, but the comedy in its deconstruction of the play-within-a-play is hugely inventive.

'Cornley Polytechnic Drama Society' are putting on a show, a 1920s style whodunnit called 'The Murder at Havisham Manor'.  Unexpectedly it turns into a comedy disaster.  Everything that could possibly go wrong...does.  Props go missing.  Lighting and sound cues are missed (by the resident techie sat in the audience).  Lines are missed, causing the script to go round in circles.  Slowly but surely the set is utterly destroyed.  And so much more.  As one actor screams, "this set is a deathtrap".

Yet the actors plough on, slaves to the script no matter how badly things go.  This in itself is cause for dramatic irony as they're trapped within a play with no choice but to reach its conclusion.  Their scramble to hold things together is hilarity at its finest.

If Basil Fawlty were putting on a play, this is probably how it would turn out.  The script has its moments of wit, but this is hardly deep satire.  Rather, the focus is on visual and slapstick humour.  A closer look behind the scenes may have provided some theatrical depth, but as pure entertainment goes it cannot be beaten.  The absurd nature of the show is guaranteed to have you bent over crying with laughter.

Beneath the surface, though, the seamless production is incredible.  Nigel Hook's set design is especially well constructed and Mark Bell's direction is highly polished.  It may seem manic, but this is slick, organised chaos.

The actors' crazed and hammy over-acting is similarly underpinned by talent.  The unravelling battle between Sandra (Charlie Russell) and Annie (Nancy Wallinger) to play the vampy female lead is particularly hilarious, whilst Dave Hearn's hapless Max gormlessly grinning at the audience after every applause is very sweet.  As actor and director of the company Chris (Henry Shields) tries to hold it all together, his frustration is palpable.  Mostly, this is a tour-de-force of comic timing from the whole cast.

The Play That Goes Wrong is an actor's worst nightmare.  It's enough to put you off acting for life, but it's a joy to watch.

4/5

Watch: The Play That Goes Wrong runs at the Duchess Theatre until February 2015.

Ticket courtesy of Official Theatre.


Wednesday, 24 September 2014

Azealia Banks - Chasing Time


I’m not sure who is the biggest music industry joke: U2 or Azealia Banks.  Yet for one of these acts that’s about to change.  Whilst one has just released a virus via Apple, the other has just released the best track of her career.

Azealia Banks was once hailed as the coolest person in rap following her huge hit 212, but after a string of rubbish follow-up tracks, a debut album that still may never see the light of day, cancelled gigs and some poorly misjudged twitter spats, her reputation has plummeted.  It’s no wonder she was dropped by her label.

That seems to have done her the world of good, however.  Chasing Time fuses the euphoric house influences of her past material with an infectious beat, a catchy sung chorus hook and her usual feisty attitude.  “My attitude is bitchy but you already knew that / and since we can’t get along, I think we should both move on” she spits during the song’s break, the whole sentiment of the song clearly aimed towards her old label as she sings “I don’t wanna be around anymore / I’m through giving I’ve got to go” in the chorus.  This is the song that, like 212, will propel her into the mainstream whilst retaining that sense of cool we all fell in love with three years ago.

Azealia Banks is back with a vengeance, then.  Let’s hope she’s back for good.

4/5

Listen: Chasing Time will feature on forthcoming album ‘Broke With Expensive Taste’ that will be released…soon?


Tuesday, 23 September 2014

Fred and Madge @ The Hope Theatre


Earlier this year, the life of British playwright Joe Orton was celebrated in musical form in Orton at the Above The Stag Theatre.  Now, Rough Haired Pointer are premièring Fred and Madge, Orton's first ever play that was written in 1959, discovered after his death in 1967 and later published in 2001.  Sadly (yet understandably for a fledgling playwright), this is not Orton at his best.

Fred and Madge is semi-biographical, the titular couple thought to be based on Orton's parents.  Orton grew up in Leicester and hated the mundanity of working life there.  The play is, therefore, something of a meditation on boredom - albeit a completely bizarre one.

When we first meet the middle-aged couple they are, inevitably, arguing in their dingy suburban home, moaning about their gloomy lifestyle.  Fred (Jake Curran) spends his working days perpetually rolling a stone up a hill; Madge (Jodyanne Richardson) futilely sieves water in a bath tub.  It's a satirical and depressing view of life.  "Oh the boredom! the fatigue of living!", says Fred in the opening scene, "No merriment, no whoopie, no frolics".

Soon the play takes a turn for the surreal and absurd.  This is, in fact, a play-within-a-play - Jordan Mallory-Skinner plays a director who appears from the audience to mastermind proceedings.  There's certainly comic irony in the couple knowingly acting in a play of their own lives, but Mary Franklin's direction does little to differentiate between the two levels.  What little narrative there is of the couple remarrying and eventually following their dreams in India is lost in confusion and disjointedness.

There are flashes of wit and satire throughout, with some amusing lines and a scene involving a "insultrice" who insults various British establishments like the BBC.  Yet, as the saying goes, only boring people are bored.  Franklin does little to combat this.  There are some zany characters performed for laughs by the supporting cast, but the overall narrative thread is lost in surrealism.  And for a play that takes place in a number of settings - a children's playground, a factory, a theatre, a hospital and a garden for example - Christopher Hone's relatively unchanging design only heightens disinterest and provides little to signpost through the plot (though the use of trapdoors is cleverly done).

Ultimately Fred and Madge is a confusing little play that this production fails to get to grips with.  Not even Orton can make brilliance out of banality.

2/5

Watch: Fred and Madge runs at the Hope Theatre until 18th October.


Monday, 22 September 2014

Pentatonix - PTX, Vol. III



Slowly but surely, a capella five-piece Pentatonix are amassing a considerable repertoire.  With so many songs on their YouTube channel, it's sometimes frustrating that not all of them have been recorded for the albums.  Yet whilst fans might enjoy looking back to their earliest work (including their Sing Off performances), the group press on with albums that continue to offer surprises.

As with their previous releases, 'PTX, Vol. III' is a mixture of covers and originals.  In their pursuit of bringing a capella singing to the masses, they've chosen some of the most popular tracks from this year (particularly from the UK): Ariana Grande's Problem, Disclosure's Latch and Clean Bandit's Rather Be.  Then, inspired by their touring in Europe, there's a cover of Stromae's Papaoutai - a song that was huge in France but relatively unknown elsewhere.  Sung in French and with extra violin accompaniment from Lindsey Stirling, it's an unusual but very welcome addition.

Mostly, the group stick to the EDM-style tracks they're best at.  With Scott, Mitch and Kirstie taking it in turns to sing lead vocals and mimicking ethereal trance synths, these tracks really show off the rhythm section of Avi's impossibly deep bass and Kevin's phenomenal beat-boxing.  That said, as with the EDM genre itself, the production is incredibly slick and polished - perhaps too much so.  The album doesn't quite capture the visceral thrill of hearing them sing live.

Their arrangements continue to amaze, however.  La La Latch, for instance, combines Disclosure's Latch with Naughty Boy's La La La; the way they weave the two songs together is complex, taking the listener on a journey through sombre verses, uptempo choruses and a layered middle eight breakdown.  Throughout each song, subtle changes, riffs and beats keep the album fresh even after repeated listening.  And each singer is given their moment, from Kirstie's lead vocals on Rather Be, to Scott's high notes on Problem and lead vocals on Papoutai, and Mitch's Iggy Azalea rap on Problem and stunning falsetto vocals on See Through.

What's most impressive, though, is their original songwriting that's more accomplished than ever.  The difference between the three included here and earlier volumes is huge.  Each feels distinct: the percussive On My Way Home has an anthemic soaring chorus; See Through is an ethereal electronic wonder that perfectly suits Mitch's tone; Standing By ends the album with an uplifting ballad that sees Kevin and Avi taking on greater singing roles, something that's always welcome.

'PTX, Vol. III' provides everything we've come to expect from the group, as well as diversifying their sound to match the tastes of their worldwide fanbase.  It's their best collection yet, proving that for a capella arrangements PTX are simply unmatched.

4/5

Gizzle's Choice:
* On My Way Home
* La La Latch
* See Through

Listen: 'PTX, Vol. III' is available now.






Thursday, 18 September 2014

Alt-J - This Is All Yours



As with Alt-J's Mercury winning debut 'An Awesome Wave', 'This Is All Yours' begins with an Intro.  Here, it's positively symphonic.  Typical of the band's style, it explores a multitude of sounds - vocal harmonies, whistles, electronics, Asian instruments, guitars, clattering percussion - yet remains delicately layered.

This Intro is followed by...another intro, Arrival In Nara.  As beautiful as it is, it just feels anticlimactic.  It's not until track three that we finally hear the band's first proper statement of intent.

That statement is Nara; together with Arrival... and Leaving Nara they form a sort of framework to the album.  Nara itself is posed as a sort of Nirvana of freedom, with its pro-equality lyrics: "I'm gonna marry a man like no other" sings Joe Newman in his trademark mumble, "I've discovered a man like no other man".  And, in a middle finger to Russia, "Unpin your butterflies, Russia".

That track also includes the line "Love is a pharaoh and he's boning me".  That's not the filthiest lyric though.  No, that accolade goes to Every Other Freckle and its "I’m gonna bed into you like a cat beds into a beanbag / Turn you inside out and lick you like a crisp packet".  It's a strangely delicious lyric that injects some humour into an otherwise cold record.

'This Is All Yours's doesn't mark a huge change from the band's experimental sound, but there's certainly greater use of electronics to flesh out the textures - perhaps making up for the departure of guitarist Gwil Sainsbury.  Bloodflood pt.II, for instance, takes the track of the same name from their debut and adds in clipped, processed beats and throbbing synths.  The biggest effect of all, though, is silence.  Prevalent throughout the album, it gives the effect of the band performing in an infinite void.

There's also great influence of Asian music, particularly on the Nara tracks - a continuation of Taro from 'An Awesome Wave'.  This is, however, a thoroughly British album, from the baroque breakdown in Every Other Freckle, to the Garden of England interlude (played on recorders) and the central Choice Kingdom and its repeated "Rule Britannia".  Elsewhere, Left Hand Free is a twangy rock track and Warm Foothills a gentle acoustic track with lyrics spliced between multiple voices - somehow it works.  Alt-J operate in their own musical language, bending different genres to their whim.

That language consists of exquisitely crafted production, with adventurous sonic textures delicately layered with precision and finesse.  This is an album that demands to be listened to on headphones: lead single Hunger of the Pine and its Miley Cyrus sample especially.  Equally, though, 'This Is All Yours' is lacking the melodic or harmonic interest to match its forebear.  Whilst it has its moments of subtle and unfurling beauty, it's lacking a Tesselate, a Dissolve Me or a Taro.  The experimentation and ambition is there, but the songwriting doesn't quite match.

3/5

Gizzle's Choice:
* Every Other Freckle
* Hunger Of The Pine
* Bloodflood pt.II

Listen: 'This Is All Yours' is available now on Spotify and released on 22nd September.




Sweeney Todd @ The Twickenham Theatre


The recent announcement of Sweeney coming to the Coliseum next year may have taken the wind out of the sails of this production at the Twickenham Theatre.  If anything, though, it should be the other way round.  This show has what ENO are likely to be missing: tension and intimacy in place of extravagant spectacle; a quietly brooding Sweeney rather than operatic insanity; and a ticket price that won’t make your eyes water.  The press images alone speak for themselves…


The Twickenham Theatre is an incredibly small and claustrophobic space, which is both a blessing and a curse for this production.  The raised stage means the characters tower over the audience mere inches away, threatening and imposing, their heads practically scraping the ceiling.  With the actors entering from around the audience and interacting with them at every opportunity – Sweeney’s ‘Epiphany’ especially – this is a production full of intensity, the glint in each characters eyes and the force of their singing causing the hairs to raise on the back of your neck.

Equally, there is very little space for elaborate staging.  Sweeney is a show with a variety of set changes, including the pie shop, the “tonsorial parlor” and that infamous chair.  Here, the minimal stage is used to full effect in Rachel Stone’s set design, navigated well by the cast, but it all feels a little cramp and demands the audience use their imagination a little too often.  Pies, for instance, are non-existent.  Blood, thankfully, remains in full effect.

Limitations extend to the suitably grubby and grimy looking cast too, though they deftly switch between ensemble and leads.  Individually, they offer some solid (if safe) interpretations of well-known characters.  David Bedella’s Sweeney is something of a loveable rogue; a romantic villain who weeps at the death of his wife.  Though he barks and growls his lines, he seems preoccupied with singing in a musical tone and doesn’t quite get to grips with the malevolent nature of the character – simply put, his smile is charming but he fails to scare.  Sarah Ingram’s busty Mrs Lovett, by contrast, is wonderful.  Her comic timing is impeccable and singing faultless, yet there’s a psychotic undercurrent to her performance: in her flirting with Sweeney and her straight-faced, knowing delivery of ‘Not While I’m Around’. 

The supporting cast, too, are excellent.  For once, Johanna hasn’t been cast as a squeaky-voiced girl – Genevieve Kingsford’s rendition of ‘Greenfinch and Linnet Bird’ is beautifully sung.  Shaun Chambers offers a clear piercing tenor as Pirelli, Chris Coleman is a comically eccentric Beadle and Josh Tevendale a gentle, boy-faced Anthony.  Mikaela Newton, meanwhile, is engagingly naïve as Tobias with an affecting delivery of ‘Not While I’m Around’. 

Director Derek Anderson has brought out much of the black comedy in the piece and proves (just about) that Sweeney can be performed in smaller spaces.  His production might not be particularly daring or novel in its interpretation of the piece, but it’s thoroughly entertaining – you’ll be grinning with delight more than jumping out of your seat.

4/5


Watch: Sweeney runs at the Twickenham Theatre until  4th October.



Tuesday, 16 September 2014

Ghost From A Perfect Place - Philip Ridley @ The Arcola Theatre


“Pornographic” claimed The Guardian’s Michael Billington on reviewing the premiere of Philip Ridley’s Ghost From A Perfect Place in 1994. That word still haunts the play for this 20th anniversary revival at the Arcola – it remains as shocking and poignant as ever.

Mostly, the play shocks for its extreme depiction of females – specifically young girls – that results in a climactic torture scene. This only works through Ridley’s clever structuring that lulls us into a false sense of security and haunts us with parallels and mirror images. It’s a play of two halves, the first act introducing us to ageing East End gangster (but don’t call him that) Travis Flood (Michael Feast) as he returns from Hollywood to his old grounds. There he converses with sweet grandmother Torchie Sparks (Sheila Reid) and together they reminisce about the heydays over a cup of tea and a biscuit. Flood is a lovable rogue with a silky (literally) exterior and a warm-heart, his career built upon loyalty and respect. He’s not what you’d expect from a criminal.

Neither are the girls. The introduction of Torchie’s granddaughter Rio (Florence Hall) flips the play on its head. Aided by her gang, Miss Sulphur (Scarlett Brookes) and Miss Kerosene (Rachel Redford), they reveal their love for pyromania and hatred of men. They are feisty and aggressive, unpredictable and fanatical, having concocted their own religion based on Saint Donna (Rio’s dead mother). That is, until a revelation from Flood shatters all their expectations.

To an extent this is a reverential play on the power of the past and the taint of memory, but there’s depth to it that’s somewhat ambiguous. Undoubtedly this is a criticism of youth and gang culture, the fear of the elderly of being usurped by the next generation. Yet specifically the focus is feminist. The depiction of the girls could be read as a twist on misogyny: here it’s womankind asserting aggressive dominance over men purely based on gender. Perhaps, also, this could be seen as anti-feminist, a male playwright portraying his fears of a female dominant world – something that’s still poignant in this day and age of modern feminism. Flood, however, isn’t afraid – his return marks a reclaiming of patriarchy and masculinity. Religion, too, doesn’t escape unscathed. The construct of Saint Donna, formed through a dream and presented to Flood and the audience through an eccentric “sermon”, is obsessive and ridiculous, yet the girls follow blindly. It is the basis of their gang, their raison d’être.

Ghost From A Perfect Place is, therefore, an incredibly controversial and unsettling play. Opinions of this production will undoubtedly be split, as they were for the play’s premiere. But pornographic? Not here. Russell Bolam has directed the piece with subtlety and nuance, for a play that skirts the fringes of acceptability without stepping over the line. It provokes without being wholly distasteful. In part this is due to the use of comedy littered throughout the script. It’s black comedy to be sure, but it brings relief during moments of high tension, balancing light and shade.

More so it’s due to the well-realised characters, performed with conviction and sincerity by the talented cast. Feast amuses and frightens as the domineering, Michael Caine-esque Flood and Reid plays a lovely, bumbling Torchie. As you’d expect, though, it’s the three girls who dominate the production, throwing themselves wholeheartedly into their roles – Redford as the hyperactive Kerosene and Brookes as sidekick Sulphur. Hall especially stands out as Rio: sexy, empowered, yet vulnerable. Ghost From A Perfect Place is guaranteed to shock, but its imagery will have you questioning rather than squirming in your seat.

4/5

Watch: Ghost From A Perfect Place runs at the Arcola theatre until 11th October.