Insatiable - Food for Thought?

Already there is so much controversy on whether Netflix's new series, Insatiable, is a good or bad show. I can't say I have first hand experience of its premise - a fat teenage girl protagonist, Paddy Bladel (Debby Ryan) who drastically loses weight and becomes attractive enough to enter pageant shows. However, I can relate to Debby Ryan's emotional performance. The fear of gaining weight, the need to show self-worth, and finding forgiveness are the few of many statements that they make through satirical, dark comedy.

The show is ironic of how a recently slim from fat girl makes her way to the pageant stage, with a "if you can't beat 'em, join 'em" mentality for a comeback. This among other stereotypes (gay best friend, single struggling mom, stalker boyfriend etc.) are embraced and then challenged... or ridiculed because it is a satire after all. To view this show through a realistic lens, Patty presents an example of the more educated and non-superficial contestants. She didn't actively enter a routine to reach that metaphorical or physical stage. She also didn't seek to diet to enter he modelling industry. This occurrence was stumbled upon by chance or was 'destiny' as mentioned many times in voiceovers, and through her own crisis.

We need to remember that this show is a dark comedy, so the extremes, exaggerations and satire are deliberate for the audience's entertainment. Then again, could those situations really happen? I'm sure you came across instances that you didn't think could happen to you. Yes, the encounter of a homeless man fat-shaming Patty leading to her physical aggression is extreme, but she simply had enough of being bullied. Also, he knocked her out and decided to sue so I feel that comments on the hypocrisies in life. Criticisms appear to surround this inciting incident, but I think it plays into the dark comedy effectively. The plot then fast-forwards to know Patty's jaw was broken as a result, she was unable to eat et viola - she is now skinny & beautiful in a matter of months! Definitely a stretch. However, life works in weird and wonderful ways. The inciting incident reveals itself as a mere example of mishaps we fall into.

On the whole, reviews shouldn't deter you from watching Insatiable. In fact, it should challenge you to watch and to form your own judgement. You will definitely read into it and react very differently. The show got a few laughs out of me. I sometimes thought 'how ridiculous' or 'how awkward'. I believe that the encounters with the strong-headed Patty allowed comedic situations to occur, along with the people in her life who try (and usually fail) to help her out.

Just give it a watch! You might be surprised.

Reflecting on REGENERATE - Bristol Gradfest '18

I always wanted to create a piece based on the concept of gender, where I could question the pre-conceived 'norms', the qualities that a man or woman should have, and the binaries within.

Judith Butler's 'gender regulations' inspired me to go full ahead with my inkling of a desire, and to do something quite unconventional. This was to incorporate the dramaturgical process of verbatim theatre - interviewing and transcribing 'word-for-word' responses said by university students or adults. Having a narrator attempt to 'regulate' social norms or to implant masculine and feminine qualities to man and woman respectfully, a 'bodies in space' video for nature versus nurture, then to have actors of the opposite sex perform the interviewee's words, these decisions were catered for our audience to self-question their own position within these norms and extremes. All sections emphasised a distorted reality, and structured by which I term as a 'humanised siri' narrator.

Working with joint-honour theatre & film students, Lucy and Thomas, we all certainly gave a valuable addition to the multi-media performance piece. I was rather pleased with this project in the end. While the rigour and aesthetic of black gauzes and three white hanging screens were not fully reflected in my grade as I hoped, I was grateful to take the opportunity to do a daring piece for theatre academia.

Panning out Films

As a film enthusiast, I've seen a fair amount of films oscar-nominated and independent films over the past few months, where I've begun to think more critically about form and style. Here I'd like to give some appraisements, criticisms and general opinions on the films. These are some I thought about during the start of the year (and long overdue to post) as well as the ones I would recommend watching.

(Caution: Spoiler alert-- perhaps no longer relevant in this time of release)

Key: + = positives
- = criticisms

+

• Gut-wrentching and mentally-bending action in, as the title suggests, the battle of Dunkirk (WWII.)
• A scattered narrative of scenarios that leaves the spectator feeling anxious and curious for more - to also connect the pieces for themselves and perhaps to view the pointlessness of war. 
• Very little dialogue, which helps to emphasise the power of feeling nostalgic and horrified through the sound effects and backtrack. 
• The pacing placement of loud sounds, which manage to both startle and entice the viewer.
• Overall Nolan presents an emotive rawness in his distinct narration of war. 

-

• Not much to fault in my opinion.

+

• The witty dialogue clearly distinguishes itself as a film that is supposed to be different from the first two. In trying to establish individualise itself... 
• Cate Blanchett - remarkable performance as a villain who grapples the complexity of anger and the act of restoring personal justice. 

-

• Too closely imitating Deadpool in its opening scene, which diminishes the serious, galactic portrayal in the prior two films. 
• That case in point would be setting up of the reverence of galactic figures and atmosphere. 

+

• Eloquent on the surface, but twisted in the subconscious - what's underneath. The script fluidly interweaves the human routines and desires and the direction portrays these actions in an unconventional fashion (to say the least). 
• You'll feel eased, as well as be teased and bombarded, which is exactly what a gripping story should cease to do.

-

• The bombarding of an unexpected response from Daniel Day Lewis and Vicky Krieps may have hindered the finessed flow of the entire film. 

+

• Graceful and other-wordly as we are simultaneously drawn in and out of a reality we assume to know.  
• Playful in theatricality and style that elevates the sense of Epic Theatre and Brechtian verfremdungseffekt techniques (meaning closely of an effect of estrangement, for those who might not know) through song narrative, stark white lighting. 
• Providing a sense of magic with a 1950s background, a time post-Cold War where escapism as a theme is strengthened and believable. 
• Here, the glass is definitely more than half full. 

Going through the process of Indecent Exposure

University of Bristol's Third Year Devised Performance at the Wickham Theatre

Indecent Exposure (2017), a production that draws from Forced Entertainment's performance of Bloody Mess (2004) through performers who attempt to follow the rules, or fail to succeed in doing normal and peculiar tasks. These factors brought our devised work of Indecent Exposure to its feet as well as metaphorically and physically knocking the performers down to the ground.

The process for Indecent Exposure was insightful by having conversations on the ridiculous circumstances that occur in gameshows, which also allowed us to fuse contemporary and burlesque performance styles with dark comedy. The foundation of Indecent Exposure became established by thinking about pageant and dating shows, and then an evident parody of the two. As part of the cast, we were split into two groups and continued to discuss or practice of certain tv shows (think X-factor and Naked Attraction). In our two performances, whether or not you understood it all, you would see us behave as contestants in games, such as musical chairs or Simon says. When the music plays, we had to dance, and the rules became clearer in our growing level of aggression or desperation to win the unknown prize.

The mix of serious and shallow elevated into our own theatrical version of the Black Mirror Netflix series. Incorporating burlesque, ballroom dances and slapstick in dystopian background were opportunities to play with the self and our audience. Indecent Exposure thereon became a competitive pageant-talent dating show parody where two very different programs started to seep into each other's realities. Humour and darkness only grew by both satirising our individual real-life contestants of inspiration and shaming the qualities about ourselves.

The idea of how can we ridicule 'acts', and which constantly came into questioning. I noted that in ridiculing a person's odd characteristic could be as simple as repeatedly moving your shoulders, or making rude remarks to commentate on the spoiled-sports that appear on gameshows (ie Britain's Got Talent). Here, persistence exaggeration were key in a performer's act while convincing others that they were 'amazing' in their failing impression.

Certainly, performing in Indecent Exposure was a vulnerable experience. You can infer this feeling from the title as there was a lot of revealing the self physically and mentally. While I found that time and effort became assets to help reveal myself on stage, I also found that it is okay to acknowledge your genuine discomfort. As an actor may mask their true feelings on stage, the process and experience became almost mind-boggling to do the exact opposite.

Fun at the Fringe!

Edinburgh Fringe Festival

The Most Theatrical Experience of My Life (so far...)

There's no better time than NOW in the NEW YEAR to reflect on my other theatre highlights of 2017, a notable one being the Fringe Festival up in Edinburgh.

The festival takes place during the whole month of August and that present performances from professional to amateur performances. You would find any genre or hybrid genre you can think of (yes there is Shakespeare performed drunk). Imagine performances within theatres, on the street, in hotel conference rooms, the basements of restaurants (no joke), all were and are annually spread across the city, but mainly convened on the Royal Mile - perhaps the most convenient and at the same time, the most troubling venue to attract people due to its busy, too-close-for-comfort peak times.

Nevertheless, I performed with UoB's Pantomime Society's in our production of ROSE RED: A GRIMM PANTO where we were fortunate enough to perform on Royal Miles, specifically inside the Radisson Blu Hotel!

The production was a great bundle of fun, telling the story of Snow White's sister, Rose Red, and on the Grimm brothers: Jacob Grimm and younger Wilhelm Grimm. The romance seemingly goes wrong between Rose and Wilhelm, as in attempt to confess his affection, he confesses that she is to end up with the younger brother, she believes not him, but the Prince Charming's actual younger brother, Prince Farming, after seeing Snow White's happy ending with Charming came true. Snow White and Rose Red's nan - Nanny Grass Green tries to help, but really is a favourite to all from her wit, her desire to resolve matters, and being a man in a dress (Stan Ford). Perhaps Walt Disney might as well show up too to help with matters. Mhm. Maybe he doesn't really help.

The townspeople- Hansel (moi) and Gretal, Puss in Boots, Clever Hans, Grimilde and the frog... become fascinated by the rumour of the Grimm brother's ability to make fairytale endings come true. These, including me, are the ones generally confused and aren't much use to settling the drama between anyone, rather they create confusions for themselves (i.e.: I have a meltdown because I believe nobody wants to eat me...).  In acting as an ensemble member and singing in the chorus, contrary to what many might think of being sidelined, is not at all the feeling in pantomimes, as every actor has the opportunity for you and your character to shine through. This experience came as a surprise, by having felt similar to Epic Theatre's style of multi-role (playing more than one role in a) play where everyone gets nearly equal stage time.

Of course, in every fairytale comes with a respectable villain, one of my favourite characters to hear and peep from backstage- and in ours it was MLM - Who's that? Good question, The Mysterious Little Man, who instead tries to turn Rose against her sister, but is actually a ploy in his/her scheme to feed the apple to Snow White. The Brechtian cross-gender role certainly was one that brought my attention to and persuasive in raising my love for the Pantomime tradition.

A definite set of enjoyable moments for me was when many of the meta (self-aware) dialogue  referred to breaking realistic theatre conventions. An example I'll remember for a very long time was Rose Red's opportunity to ad-lib a problem, responding along the lines of: "I don't know how everyone keeps coming in my house, just going through my door" as MLM just walked on stage next to her. It is also in reference to Puss in Boots' comment after: "we really should get a lock on that door" as soon as Nanny enters. Trust me, when you see it for the first time on stage, it's much funnier than it reads.

Lest we forget the musical numbers that occur in Pantos, which brought a great joy to us and that can be said for our family audiences; parents, teens and kids! To have personally performed in Hello (from Book of Mormon) Whipped into Shape (Legally Blonde), and Dance with Me Tonight (Olly Murs), along with devising the choreography of Whipped into Shape, the Bristol rehearsals and entire Edinburgh experience was made, I must say, that much sweeter (yeah I remember an old line ;) )

A couple of sell-out shows, a couple needing more bums on seats, but overall a huge success in my eyes for a first debut (and that gained a profit so hey why not).

These listed are certainly my recommendations and a note to self for next time around!

Cabaret performance (not sure of the name) underneath an Italian restaurant

• Man dressed as a Greek God treats his audiences as his peasants 
• Woman sings and plays the guitar of her experience of her tinder dates
• Audience interaction is involved 

GrIMPROV

• Improvised sketches in best attempts to refer to Grimm stories 
• Talented few of university-led group from Southampton Uni

Lady Boys of Bangkok

• Of Bangkok Thailand's transgender females, bring you late evening strip-tease extravaganza with some popular or patriotic songs. 
• Expensive at the bar, but worth every penny for their performance (especially its preview of 2 for 1 tickets). 

Austentatious

• Improvisation in regards to the style of Jane Austen's works. 
• Recurring professional company who were just phenomenal at responding to each other. 

Baby Wants Candy

• Improvisation of an entirely new musical from the audience's given title. 
• I had the pleasure of watching "Beauty and the Sausage Feast" 

Some pictures from the experience and the show!

Moment(o)Us @ Gradfest 2017

A twenty-minute performance that removes the thing that you think you need most in the theatre- sight! The performance, which has a loosely referenced narrative to a refugee, actually focuses on the audience by encouraging them to get in touch with their other senses.

Firstly, the performers (facilitators) were blindfolded and tasked to build a sense of trust with a spectator. The audience members were informed to put on a pair of headsets while they sat beside next to a blindfolded performer. As placed in the position to listen to the recording (sounds of the sea, and a narrator's voice about finding and losing), they are instructed on how to guide the performer outside of the room space (Uni of Bristol's Brandt Cinema) to another (corridor). Once accomplished, an exchange takes place between performer and spectator.

As a performer I needed to be attentive to the responses of my spectator in my care. I began to think more about the boundaries of another person and adapt to it. From navigating someone in narrow to large spaces to a standstill, dancing or engaging the body of someone else through touch and sound, I was physically challenged and critically (as well as reflectively) engaged.

This sensation-based performance was a highlight of yet another end to a year in university, which  built my aspiration to encourage sensory-based performances and shed light on the advantages we take for granted.

Performance at the B.O.V.

As part of UoB's Performing the Archive unit, we have curated:

An installation on the Bristol Old Vic's 70's renovation period with regards to Peter Moro's architecture and people's reviews on its establishment and theatrical preservation. Join us track back in time through the lens of Trelawny, Macbeth and As You Like It.

In no particular order, we let spectators perceive photographs, transcripts and fragments of Bristol Old Vic's past between 1969 and 1972. This non-linear timeline was to provide the freedom to interpret events and to assess gaps in history. Framed in the manner of performing production extracts, we believe elicited a dramatic nature in both the BOV's digression (loss) and progression (addition), and into theatre as a whole. Perhaps, the loss of tradition and the clasp of contemporary. Or art versus money? The contradiction of idealism with realism.

Or as an institution, could it still; "The Theatre Complex-yes the old dream come true. Keeping what's best, but making all else new." (Theatre Collection As You Like It Gala Program, 1969)