Tag Archives: Anne-Marie Piazza

“Treasure Island” at St Paul’s Church, Covent Garden

A little damp weather can’t harm Iris Theatre’s ship-shape and extremely jolly adaptation of Robert Louis Stevenson’s classic adventure story. Ambitious sets by Valentina Turtur have taken over St Paul’s church and grounds, while a score from Candida Caldicot breathes further life into this fine children’s show. Eight and above is the recommendation, but parents have a strong chance of enjoying it just as much as their kids.

Director and adapter Daniel Winder’s clever move is to split the audience into privateers and pirates. A brave number of scenes feel like private affairs. While some of the audience battle it out on the good ship Hispaniola, another group mutinies by ambushing the Admiral (a superb Nick Howard-Brown). You’re either in or outside the stockade for a parlay, then you’re solving clues to find treasure or plotting to petrify the pirates. The gardens buzz and I wouldn’t be surprised at demands for return visits to see the other side of the story.

Harold Addo
Harold Addo

With this clever structure, it’s plain sailing for such a talented ensemble. Dominic Garfield is a suitably hirsute and downright dastardly Black Dog. Dafydd Gwyn Howells a swivel-eyed Long John Silver who’s as camp as you could wish. There’s a strong professional debut from Harold Addo as our hero, Jim. Anne-Marie Piazza wows for a second time this season as the indestructible Isabella Hands, an updated nod to the tradition of female pirates.

There’s just enough humour for the grownups and a big dose of audience participation for the kids, handled perfectly by the cast. Winder makes light of the “ticklish work” of finding treasure, steering clear of Disney by highlighting superstition on the high seas, pointing out just how much grog was swilling around and doing justice to Stevenson’s cynical look at class structure on board the ship, all the while expanding everyone’s pirate-related vocabulary with great skill. Yo-ho-ho and huzzah!

Until 28 August 2016

www.iristheatre.com

Photos by Hannah Barton

“Much Ado About Nothing” at St Paul’s Church, Covent Garden

Damp weather did nothing to deter the Iris Theatre Company last night at the opening of its summer season. Comfortably resident at ‘The Actors’ Church’, it always expertly navigates the grounds and building for its promenade performances. Director Amy Draper’s production of Shakespeare’s romantic comedy is no exception, and proves funny and heart-warming, whatever the weather.

The best thing about Iris Theatre’s shows sounds boring – that you can hear every word. This is no small achievement when actors are unmiked, outdoors and competing with all and sundry in the Piazza. While the declamatory acting style can be off-putting, Draper’s performers make exaggeration work for them, emphasising the tricks and tales, including nasty plots, our four lovers have to endure.

This is a stripped-back show, with only seven in the cast, and you might wish for more, even though the ensemble delivers. Jennifer Clement is particularly hard working: despite plenty of costume changes, she’s never breathless and has terrific comedy skills. Emma McDonald benefits from the economy, performing as a sweet Hero, and then ordering the audience about as a belligerent Dogberry, the “ass” heading up the Prince’s Watch. Abbreviating this sometimes-tiresome bunch into a Keystone Cops couple really works, and their marshalling the audience around the grounds is clever stuff.

Anne-Marie Piazza is a brilliant police officer alongside McDonald, climbing lampposts and stealing snacks from the crowd. Yet this isn’t her main achievement – her Beatrice is top notch. Funny, bike riding, accordion playing… is there nothing the woman cannot do? Joined by Nick Howard-Brown (another natural comedian) as a charming Benedick, the querulous couple’s bickering and courtship is the highlight of this speedy, accomplished and appealing show.

Until 22 July 2016

www.iristheatre.com

Photo by Hannah Barton

“Twelfth Night” at St Paul’s Church, Covent Garden

Now in its seventh year at ‘The Actors Church’, Iris Theatre has struck gold with Vik Sivalingam’s Twelfth Night. Using the gardens, making the church itself look divine and including the audience in a good-natured fashion, this show is promenade performance at its best. Crammed with comedy, the play’s contrivances, of separated twins and cross-dressed courtship, are funnier than ever.

Sivalingam’s aim is to entertain – such clarity imbues the cast with purpose. Pepter Lunkuse is a believable Viola – it’s easy to predict she’s an actress with a bright future. Nick Howard-Brown’s Feste and Julian Moore-Cook’s Orsino are commanding presences. Tony Bell and Robert Maskell, both experienced performers, play a dour Malvolio and carousing Sir Toby with vigour. Act two, scene five, with the fantasising Malvolio duped by Anne-Marie Piazza’s delicious Maria, is the best I’ve seen performed.

A wonderful sense of intimacy is created in the flower-filled gardens. Entreated to follow the actors to different scenes becomes a playful treat – it’s a great game to go wooing Olivia with Viola. And Olivia’s pursuit, when she falls for the twin dressed as a man, is full of complicit cheekiness, embodied by Olivia Onyehara. A duel between characters is conducted with an umbrella and a mop. Even the shrubbery is used as a prop.

The production’s small cast impresses, performing Harry Blake’s music, which subtly infuses the show, as well as by taking on multiple roles. None more so than Henry Wyrley-Birch, whose Sebastian is heroic, while his Andrew Aguecheek elevates a sometimes tiresome role into a central figure – seldom has so much comedy come from a cape. The brief moment when Sebastian and Aguecheek meet is something to look forward to – it’s handled with an endearing humour that’s indicative of how light, lithe and easy to love this show is.

Until 24 July 2015

www.iristheatre.com

Photo by Hannah Barton