Showing posts with label Lois Chimimba. Show all posts
Showing posts with label Lois Chimimba. Show all posts

Wednesday, 22 May 2019

Three Sisters

by Anton Chekhov

seen at the Almeida Theatre on 16 May 2019

Rebecca Frecknall directs atsy Ferran as Olga, Pearl Chanda as Masha and Ria Zmitrowicz as Irina (the three sisters) with Freddie Meredith as their brother Andrey, Lois Chimimba as his wife Natasha, Peter McDonald as Vershinin and Elliott Levy as Masha's husband Kulygin in Cordelia Lynn's adaptation of Chekhov's play.

The provincial setting in which the children of an army officer, adrift without occupation or responsibility, fixated on returning to Moscow as the solution to their anxious unease, attempt to give meaning to their lives, is often presented in a nostalgic haze of imagined Russian-ness. Here, the setting is more abstract, the stage a raised square set at an angle in the Almeida's curved acting space, with virtually no props apart from chairs, with a stairway against the bare brick wall leading up to a notiona study where Andrey often sits brooding, perhaps aware of what is happening below him, perhaps just sulking or bemoaning the trajectory of his life. The sisters meanwhile attempt to cope - Olga, older and unmarried, gradually engulfed in teaching, Masha, married to the pedantic schoolmaster but disillusioned after her initial infatuation with him and desperate to revive excitement with a lover, and Irina, optimistic about work as an ennobling act but appalled by the banal realities of the jobs she tries.

Tuesday, 2 February 2016

wonder.land

by Damon Albarn, Moira Buffini and Rufus Norris

seen at the National Theatre (Olivier) on 31 January 2016

This musical, inspired loosely by Lewis Carroll's 'Alice' books, is directed by Rufus Norris and designed by Rae Smith, and it features Lois Chimimba as Aly, Hal Fowler as the MC (and Cheshire Cat and Caterpillar), Carly Bawden as Alice, Enyi Okoronkwo as Luke Laprel and Anna Francolini as Ms Manxome.

Making full use of digital technology, both as a plot device and as a theatrical resource, this exuberant piece makes its presence felt even before one has reached the auditorium of the Olivier Theatre. There is an installation in the cloakroom foyer featuring virtual displays, smartphones and i-pads inspired by elements of the set, all stirring a great deal of interest among the younger members of the audience.