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A Play, a Pie and a Pint
Oran Mor, Glasgow
Nov 26th – Dec 29th
Hello there from the 2018 panto at the Oran Mor, Merry Christmas! Is there anything better than seeing a panto? Loudly planted on a tiny stage, the set looked very cute with lively colours and characters. This year’s show was sold out and the bustle of the crowd was loud as they took their seats and enjoyed their food. Four of those familiar panto characters were to take to the stage including the traditional man in a woman’s costume, Dame Beanie Bumpherton (Dave Anderson, Empress Evil-yin, the baddie (Maureen Carr), Handsome Jack, the hero (John Kielty) and Ravishing Rosie, the female heart throb (Hannah Howie) all of whom were up for making a huge joke of themselves, the plot and anything else that came to mind.
All the classics elements of panto were covered – “oh yes they were!” – with the cast enjoining us “Boys and Girls” to greater and greater efforts as, egged on by them, we cheered, booed and hissed our way through the performance. Whenever they burst into song, which was whenever they felt like it, served to further raise the room into something resembling a frenzy. The plot really came alive when Handsome Jack introduced the Empress and she tyrannically declared that singing would no longer be allowed and that there would be a prison sentence for anyone caught singing. As music and singing are basically the heart of panto, her subjects were not happy to say the least.
With the plot fondly set in Glasgow, author Morag Fullerton had managed to cram in plenty of local name drops and hilarious topical references, all in best panto tradition, with all of the cast taking the p*ss from a great height. In particular, I have to mention Dave Anderson as the Dame, who perfectly balanced his place in the plot with a sort of ongoing stand-up act which was performed as if he didn’t know he was a man dressed as a woman. The sharpness of wit – and rudeness of language – had a genuine appeal to the adult audience, which was something we could have expected from the sardonic title “The lying bitch and the wardrobe” – makes you smile, right?
The title was finally explained when it came to light that Empress Evil-yin had a dark secret hidden in there – a nemesis in the shape of the one song that would tear her powers asunder. The story unfolded and the plot thickened, with the people of the town afraid to sing a note for fear of what the wicked Empress might do to them. A few timely costume changes later, Handsome Jack and Ravishing Rosie finally broke into Evil-lyn’s house and discovered the one song hidden in the wardrobe, whereupon her power was destroyed and she was defeated, hooray!
In the end all was forgiven with the Empress even joined in the singing as the audience bade farewell to each character in turn. This turned into a big chaotic singalong that we repeated umpteen times till we got it just right. Then they left us with a big cheerio and a big cheer and applause from an audience full of smiling happy faces.
A Play, a Pie and a Pint
Oran Mor, Glasgow
Imagine you have access to a time machine. You pop back to the beginning of the 20th century and happen to bump into mega-rich philanthropist Andrew Carnegie. You tell him a bit about yourself, how you can contact anyone in the world, pretty much instantly and by pressing a button send them a message, photo or movie. You can also talk to them and you can see each other in real time as you chat. You might mention your foreign holidays, car, the pineapples, bananas, grapes that are available to you in the supermarket all year round… and so much more. What Mr Carnegie would want know is, how many millions are you worth.
Salih, a Kurdish asylum seeker and his Polish pal Jacek, don’t feel much like millionaires, sleeping in a bin shelter in the neat back court of a block of houses (a terrific piece of set design by Jonathan Scott and Gemma Patchett). Breakfast is a banana from Waitrose’s trash. As they clean up their litter Salih finds a lottery ticket which could herald a change of fortune, especially when Rhona from the flats bursts out the back door cursing the problem she has with overflowing effluence in her toilet. The men see an opportunity. Can they fix it? Yes they can. They’ll do it by the book – literally, a do it yourself volume Jacek runs to get from the library. A pipe is blocked but they have access to a sledge hammer, what could possibly go wrong?
Nebli Basani’s Salih is a born story teller weaving fate and faith, omens and realities into unlikely probabilities. At times he steps out of the action to stand front of stage and tell tales from his harrowing past. Under a single spotlight, his tall elegant presence is endearing and commanding.
Steven Duffy’s Jacek is a more down to earth, everyman character who just wants to work for a fair wage and send home money to the wife he loves and misses.
Helen Mallon’s Rhona is a no-nonsense, feisty Glaswegian woman who has a graphic design business to run and deadlines to meet. When not screaming at the flushing neighbours contributing to her toxic problem, she has sympathy for the men but more importantly just wants them to do the job before her important clients turn up. She’ll give them a chance but they better not mess up.
There is an interesting dichotomy at the heart Donna Franceschild’s moving play. While it would require a heart of stone not to sympathise with the plight of these two decent blokes struggling to subsist in a foreign country, the scam they feel obliged to commit would certainly leave the victim of it with a less than favourable impression of both men, and perhaps by extension, all immigrants and asylum seekers.
One thing is for sure, those lucky enough to live in this country, have a home, a reasonable income and access to free medical care, have already won the lottery of life, several times over. Buying a ticket for this excellent, nuanced drama would not be a gamble.
David G Moffat
Oran Mor / The Tron
The Oran Mor, Glasgow
27th Nov – 30th Dec
Script: Stagecraft: Performance:
For the past few months, The Mumble’s chief ambassador to the Oran Mor’s benevolent-in-so-many-ways Play, Pie & a Pint paradigm, David G Moffat has reviewed every single theatrical offering. Not wanting to go an entire season without tasting a piece & a pie, I cashed in my CEO chips & went Westside for Cinderella 2: I Married a Numpty. I was partaking for the first time in one of Glasgow’s startlingly native creative outputs, the brandy-imbued blancmange that is the city’s adult pantomime. All the boys & girls in the audience are grown up, but in the psyche of us all there is a mimesial box of affection just waiting to be opened by colours, sounds & dodgy puns. Thus, once the opening number had told us, with rather well-toned vocals, that pantomime’s ‘not just for wains anymore,’ I was ready to rock.
Written & directed by the erstwhile & perennially pretty Morag Fullerton, I went on to witness a slightly slapsticky, mostly amsuing boozecruise through the modern morphing of Commedia d’ell Arte. The comedic archetypes on this occasion are the cerebrally Blackpoolesque Auntie Etta (surname Dick), played by local lad & long time donjon of screen & stage, Dave Anderson; Joanne McGuinness as a fun & feisty Cinderella, Clare Waugh as her ugly sister, Wan-Tooth Winnie, & the high-status thespianity of John Kielty, who played both ‘shag-shag-shoot-shoot’ Prince Charming & the bumblingly beautiful, childrens’ presenteresque Buttheid, the rivals for Cinderella’s affections in love.
In fairy tales, perhaps the most unbelievable aspect is the notion that people live happily ever after, & so it has proved to be in Cindereallaworld, where the class divide between her & her posh prince is soon tearing at the tether with gold-plated or rotting teeth. As for the tradition, all the trimmings are there. Bouncy, chorus-catchy sing-a-long songs; the love potion motif, one I remembered from my last panto, sometime in the 1980s in Manchester, with my gran’s works from Burnley; there was speaking bluebird puppetry; the ‘O yes I did, O no you didn’t,’ sonic pendulum; the finale sing-song tonguetwister rolled out on a big canvas at the back of the stage, & so on. The script was snappy, native & of course, satirical, in the popular contemporaneity way. Auntie Etta had the best lines, especially her, ‘I feel like a chameleon traversing a kilt,‘ & her comments on acquiring the proper vestiges of minor celebrity ever since her niece married into royalty – these days she gets to call out bingo numbers in Partick Burgh Hall. The other three actors all gave top-grade performances, especially John Kielty who not only played two parts here, but is also starring in the Citizens panto, Hansel and Gretel, in the evenings. Overall, I Married a Numpty looks, sounds & feels great, & with the use of radio mics is one of the best immersive experiences I’ve ever had at the Oran Mor’s PPP. Unfortunately for most, the thing is completely sold-out, but if you are one of the lucky ones who has a ticket, you’re in for a treat. FOUR STARS.
ALICE IN WEEGIELAND
The Tron, Glasgow
Dec 1st – Jan 7th
After the Oran Mor, I intended to do a spot of Christmas shopping for the family, but in fact only visited Fopp & a couple of charity shops near the theatre where I rather selfishly bought stuff only for myself. I’m sure I am not alone in feeling an abject terror in buying ‘just the right thing’ for one’s loved ones at Christmas, & find comfort & solace in buying personalised tat instead. I then drove up to my pal’s house in Riddrie for a meal & a nap – Glasgow is soooooo exhausting – before returning to the city centre & the Tron for the second panto of the day. As soon as I arrived I realised this production would also be catering for children. Two groups of brownies – a 22 & a 48 according to the usher – had filled the auditorium to capacity. ‘Wooaah, wooaah, wooaahh,’ I thought to myself, this panto was written by Johnny McKnight, whose Wendy Hoose I reviewed at last year’s Fringe, & which was, one would say, unsuitable for children.
I need not have worried. McKnight has created something straight out of the Alexander Makeev school of Panto. In St Petersburg in the 1980s, Makeev began experimenting with dance, clowning & drama to create a style which appeals to adults & to children alike. Alice In Weegieland is a perfect example of the model, whose colloquial, lyrical comedy is downright genius. The story is based, of course, on Alice in Wonderland. ‘Do you wanna come down & have a swatch?‘ asks Scott Fletcher’s slick, red-haired, camptastic Knave of Hearts. Alice agrees, played calmly & cutely by Daisy Ann Fletcher, whose recent failure at ballet class has sent her spinning headfirst into the metaphorical depths of redemption. Down the hole, Alice soon finds that the playing cards of Lewis Carrol’s made-up land have been replaced by chip-tossing, sweet-chucking burberry chavs. ‘Welcome to Weegieland,‘ they sing to the fun musicality of just-by-the-stage, orange-suited musical maestro, Ross Brown, ‘where we work hard for cash in hand.’ ‘Welcome to Weegieland,‘ they sing again, ‘where drinking outside has been banned!’ Then enters the brilliant, street-shuffling, glitterblinging, jittery Doormouse, played with sublime authenticity by Jo Freer. Next up was Julie Wilson Nimmo’s Catterpillar, Catty P, whose remarkable costume was just one of the many aesthetic gems that made up the joyously twinkling dramaturgical tiara that crowned McKnight’s superlative-pregnant panto.
The star of the show, & of probably the theatrical year as far as I am concerned, was Darren Brownlie. Both his characters were in drag – Frauline Rot the ballet teacher, & the Queen of Hearts, & both were beyond brilliant. Through his decisive, supernova performances, & all the rest of the oomph & bumph of pantomime in its prime, Alice in Weegieland is a glossy explosion & riotous romp through Glasgow’s ‘otherverse.’ Occasionally, I found that the subplots were clung onto a tad too much, the re-explanations spoiling the flow somewhat, but the show is a full 2 hours long & the time needed to be filled. A couple of cuts here & there & we would have a masterpiece on our hands. A few seats are still available for Alice in Weegieland this year, not many mind, & it is worth travelling to from all parts of Scotland to watch with, I’d say, kids above the age of 10. FIVE STARS
Hello Joyce, so where ya from & where ya at, Geographically speaking?
I’m originally from Hong Kong but I have been living in Leeds for 8 years. People tell me I now speak with a Hong Kong/Yorkshire accent. I am pretty proud of that.
When did you first realise you could write for the stage?
When I realised that writing for the stage is not about pen and paper (or screen and keyboard). I write with choreography, rhythm and pacing, light and sound including words and voices. I try to treat the script to my theatre like notation to music.
Which playwrights have inspired your own writing?
Antonin Artaud, Jerome Bel, Isabel Allende, Susan Sontag, Roland Barthes. They are not playwrights but they inspired me. They gave me imageries, intensions and provocations.
What is the difference between Chinese Theatre & that of the West?
Haha can someone please first sum up what ‘Theatre of the West’ is? As you can imagine it is both impossible and wrong to try and summarise. From my observation, There are a lot of theatre venues where I came from in Hong Kong that look like the venues I see in Europe. Performance happened within them and tended to be similar to each other, no matter where they come from. It is when you venture outside the boundaries of theatre venues then you will discover the joy of diversity. Go to a tiny factory or flat, converted into a studio theatre and see what independent theatre makers are passionate about and how they make theatre with minimum resource; go to a teahouse or community centre to see Xiqu (generally known as Chinese opera), which has got a totally different aesthetic on stage and etiquette off stage; or even a pedestrian only street to see what tricks street performers are up to. Theatre is everywhere.
What does Joyce Nga Yu Lee like to do when she’s not being theatrical?
I like gaming on my phone or computer. I enjoy a good story without stressing about my HP all the time, so I am more into RPG, adventures and puzzle games. I particularly like classic Chinese martial arts RPGs which I play on DOS simulator. I also like reading: sci-fi, history, science, economics, politics, manga… just not romance.
Can you tell us about your company, Mind the Gap?
Mind the Gap has been creating work since 1988 and I’m pleased to say that we’re one of Europe’s leading learning disability theatre companies. We’re all about creating an arts sector where there is equal opportunity for performers with learning disabilities, creating work for local, national and international audiences. The type of work we produce includes touring theatre, site sensitive productions, forum theatre and more recently street theatre. We make work alongside people with learning disabilities that excites, surprises and challenges audiences.
You are also the artistic director of the multi-art form Daughters of Fortune. Can you tell us more about this project.?
Daughters of Fortune looks at humanity through the eyes of parents with learning disabilities. It involves three live performance outputs, the three daughters: Anna, a interactive forum theatre piece; Mia, a contemporary studio theatre piece and Zara, a large scale outdoor spectacle. Anna and Mia are perfectly formed “sisters” and now on the road. The little sister Zara, who is due early 2019, however involves the biggest ambition. Zara will feature a three storey tall puppet baby, with epic choric movement of people and vehicles. Just imagine a cross between Godzilla, District 9 and the opening ceremony of the Paralympic Games.
Through Daughters of Fortune you are bringing Mia to the Fringe, can you tell us about the play?
Mia is a fast moving contemporary performance that appeals to audiences who like the new and authentic. In partnership with Royal Holloway and with the support of the Wellcome Trust, the team collected real stories from parents with a learning disability. Everything in Mia is grounded in real life stories. The subject matter is impossibly complex, the performance is composed to reflect this complexity. The performance is structured with a series of non-linear episodes strung together with a progressive narrative arc. The episodes vary in form and pace, from high energy pop dance to intimate acting, low tech object manipulation to live feed camera and loop pedal. Mia is highly demanding for the performers, and catered for audiences with a critical and inquisitive mind.
What emotive response do you expect from the audience?
Some feedback I heard frequently was that it was like an “emotional roller coaster”, and “laugh one minute and cry the next”. Mia is full of jump cuts between light and shade, sometimes the absurdity of reality even renders us not knowing whether to laugh or cry. When you leave the theatre, I hope you feel entertained, but also feeling a bit more human and energised for action.
What does the rest of 2017 hold in store for Joyce Nga Yu Lee?
When you see me in Edinburgh this year you will see me sporting a baby bump 🙂 Isn’t it interesting? While I am heading a project about having babies, I am making one in my belly. This is an incredible experience. If you have read our marketing material, you’ll see the doubts and questions one may ask when considering having kids: can I cope? Will I be able to afford it? Will I screw it up? These are real questions I am asking myself. I still can’t answer yes to all these questions, but I’m trying my best and ain’t letting fear stop me.
Aug 8-27 : Summerhall (14.45)
Gilded Balloon Teviot
Aug 5th-29th (16.15)
Script: Stagecraft: Performance:
Among the international fare that slaps itself down upon the plates & palettes of the arts-discerning punter each year, the Canadians always like to send in their own representatives of the commonwealth of culture. Of these, last year, Rebecca Perry made her ‘Confessions’ to us all from the coffeeshop she was working at, an Orwellian trip through her imagination that saw her romancing several dream-guys & contacting the renowned primatologist, Jane Goodall. This time round, we follow her ‘Adventures’ to Tanzania, & the very chimp-sanctuary ran by Goodall, where Perry monologues, sings & acts out conversations with an ever-growing confidence in her craft. She’s good, & farming her own peculiar muse over the past 12 months has earned her a bumper crop this time round.
So what is it about this show that is so appealing. Well, its just so bloody unique. I’d love to find out more about Perry’s youth, but one gets the feeling she was an only child, who spent acres of time alone in her room making up stories with her dolls. A couple of decades later those stories – or the maturer versions – are reaching our ears, & I think the world is a better place for it. Again, I’m not sure why, but the sheer joy that Perry beams when singing her songs – which are, by the way, more soulful & of a better elf-dust than last years’ – or frolicking through her multi-accented characters, must be the key somewhere. Experiencing Perry’s creation is like watching a slightly tipsy professional chef whipping a quick wonder up with whatever ingredients are to hand. Proper tasty, & you don’t quite know how they pulled it off.
Reviewer : Damian Beeson Bullen
A Play A Pie And A Pint
Nov 23rd– 28th 13.00
“The course of true love never did run smooth” would complete Shakespeare’s line and David Leddy’s play directed by Joe Douglas certainly showed how bumpy it can get. Aid charity boss Celia (Louise Ludgate) and co-worker Oliver (Mark Prendergast) have found themselves in a pretty tight corner. In the world’s most expensive hotel on the tab of an unnamed country’s murderous dictator they are being strong-armed into providing computers and software which will never find it’s way to the general population but only line the pockets of said dictator and his cronies.
The play takes place in room 103 where Celia and Oliver, both rather drunk, have taken a break from negotiations to contemplate just exactly how to extricate themselves from the situation they’re in. It soon becomes apparent that both are far from successful in love. Celia is divorced with a daughter who cares little for her and bi-sexual Oliver’s male partner has left him and returned to Brazil.
As their drunken conversation develops Oliver admits that the only reason he has stuck with the failing charity is his love for Celia and Celia admits to the same, but how to escape the dictator and disappear together without being detected by his bodyguards downstairs? You need to see the play for the answer.
For some reason this piece never really took off. Lots of potentially great dialogue was lost in a rush in the first 15 minutes and there were moments during the performance where everything went very flat- it’s never a good sign when you can hear the audience shifting in their seats. Perhaps the whole scenario was a bit unbelievable but there were some genuinely funny lines and with better pacing the play would have been more engaging.
Reviewer : Dave Ivens
Greenside @ Nicolson Square
20th-22 – 24 – 29 August
This is a traditional play from the island Okinawa in Japan. Tradition seems to be the word. The traditional costumes, wooden instruments and folk music were just awe inspiring, if explosive was the start I couldn’t wait to see what was next. Following the story of Sanla and his wife, embarking on this exotic love story the cast of 8 (including the musicans) proceeded to take us on that same journey..
With acted scenes of village life, fishing, farming and beautiful dance the wooden drums and violin touched your heart. At this point I got goose bumps !!! The acting, the back drops, the music , the costumes and the miming all added to the magical atmosphere that had engulfed the room. To be presented with such a well written, acted and delivered piece of Japanese life was a true privilege . Looking around the room at the audience I could see that they felt the same as me, spiritually uplifted with what was happening in front of them…
The cast hard worked hard at perfecting this, with the classical Ryukyu Court dance came a delicate but beautiful piece of magic. With the sound of the Sanshin in the background (a type of Japanese guitar), this part of the show moved like silk from a spiders web, capturing that moment in time. The drumming was thunderous but soothing at the same time, whilst the violin just tweaked your heart strings. From courtship, to marriage to the birth of their child, this was a wee peak into daily life on the island of Okinawa , I must add that all the cast are from Okinawa and did their island proud…
This show has travelled to many places around the world and we should be glad that they have returned to Edinburgh to let us be part of their life”s.. In so many words, this show was spectacular , beautiful, colourful, awesome , inspiring, uplifting, warm and very well presented.. There was also a wee touch of Scotland added in, I am sure I heard the violin treating us to the sound of Amazing Grace !!!! Well done to all the cast of Okinawa Sansan for a true look at Japanese life and culture… I will be going to see this show for a second time before it ends. FIVE STARS
So tomorrow it begins, the month-long drama-fest that is the Edinburgh Fringe Festival. New material, old material, its all being flung into the epic maelstrom which sees hundreds of thousands of punters take their seats to be, well, entertained. The choices are vast, from well-established veterans to bright-eyed kids making their first step up from their school drama groups. So to help the punters decide what to see this August, the Mumble has made the following selection of plays which are well worth a look.
A couple. A suitcase. A game lost. A memory played. When Aine loses her memory, Mihail constructs a form of therapy to help bring her back. But therapy with the one you love can be a very funny game. What happens when the rules change? Ashes Afar spikes social politics with bitter humour. Watch the lives of this young immigrant couple unravel in this fractured story about memory, love and the loss of both. A Romanian-Irish collaboration forged in the UK.
Iami is a theatrical piece that utilises a range of disciplines to create an ethereal world, which incites wonder in the disillusioned masses by making typically sacred themes accessible via secularisation. It follows an eclectic grouping of people: Aila, a woman who has drowned herself; Iam, a being with a mirror for a face; Deos, a man who has been ritualistically sacrificed; Feriluc Maydie and Wellesley Kelvin, a clairvoyant and an explorer who’ve accidentally died as a result of contracting cholera. They find themselves within the Eversphere after their deaths and must reconcile their identities with apparent immortality.
There is no Ghost. There is no Equivocation. Only Revenge. Hamlet isn’t happy. A letter from his dead father explains that Uncle Claudius bumped him off and to rub salt into the wound he’s married Hamlet’s Mum Gertrude. This injustice will not stand as the murderous teenager sets out on a roaring rampage of revenge. Hot-footing it from their hugely acclaimed London and Oxford tour of Hamlet, English Repertory Theatre bring their 80 minute action packed extravaganza starring a woman as Hamlet to the festival this year.
An original music, theatre, and storytelling show, with harp, flute, percussion, singing and dance. The show is inspired by the Mexican festivity Day of the Dead, and explores the meaning and intricacies of life and death in different cultures, through folktales from around the world.
A daily challenge to realise the best marketing scheme on the Fringe. Join us in competitive capitalist victory or watch us lose our shirts…guaranteed beer, and kids will love it. Title is a promise. We’ll always be tasteful…or tasty…maybe both?
‘It’s a secret, Billy. That means we can’t say anything, and we can’t be seen.’ At a children’s care home, Joe and Billy meet. The boys do everything together. They brush their teeth to the same rhythm and fold their socks along identical lines. But when Billy gets ill, Joe can’t bear to be different. He takes Billy to a hideout and sets two rules: no more medicine, nobody needs to know. A thrilling and tender new play from Bristol Old Vic writer-in-attachment Tabitha Mortiboy and the critically acclaimed Bellow Theatre.
A hilarious look at the best period of your life. Clown sisters Morro and Jasp are at that age where the hormones are always flaring, the telephone keeps ringing, and the punk rock can never be too loud. As Morro attempts to hide from feminine hygiene products, Jasp longs for womanhood and the boy of her dreams. This smash hit explores the trials and tribulations of growing up.
masterpiece about the perils of love, lust and unprotected sex. Set in 1890s Vienna, La Ronde, translated asCircle Of Love, refers to the daisy chain of sexual encounters that determines the format of the play. Ten wryly observed interlocking scenes between pairs of lovers offer social commentary on how sexual contact transgresses boundaries of class. Translated by Frank and Jacqueline Marcus, see director Clive Perrott’s thoroughly wicked, extremely naughty and very funny interpretation of this notorious classic. Fancy a dose of theatrical Viagra?
A heart-warming yet hard-hitting original drama about family, conflict, loss and growing up. Inspired by the classic children’s book The Story of Ferdinand, this is the wonderful and provocative tale of Tom, a single dad, an ordinary man attempting to go with the flow, raise his son, and keep it together in a world of corporate bullying and classroom peer pressure, which is determined to make him fight. Ferdinand will have the whole family cheering as it answers the question, who do you want to be – the bully or the bull?
Once upon a time in a far off imaginary place… a giant fell out of the sky. ‘There were roofs down, windows blown in’, says Puppet Granny Tina Henderson, puffing on a Malboro Light. ‘It wasnae funny.’ The makers of Fringe First Award-winning show The Table, return to Edinburgh with a puppet-docudrama which tells the true story of Jack and the Beanstalk. They look behind the scenes and uncover a dark tale of gambling, greed, theft and murde
When two people collide can their lives become entangled? Bump explores the connection between two people, who are constantly sharing their thoughts with the audience throughout the dialogue. To enhance this style, sometimes the characters speak at the same time, share the same thoughts or completely contrast each other as their words overlap and inter-tangle. In this fast-paced, highly physical piece, Eliana and Ian move in harmony as we watch their happiness and struggles on a very intimate level. Bump provides plenty of humour with many twists and turns along the way.
Taunted because of the colour of her skin and faced with a family that hits her heart like a hurricane, this young girl must reach inside to overcome life’s storms. An experience inspiring us to never stop dreaming! This Capitol Fringe hit is performed by Shaina Lynn, born a poet in the Bayous of New Orleans, this Creole Queen rode the storm to the bright lights of New York City. She has performed her poetry at Bowery Poetry Club, Inspired Word (NYC), and Busboys and Poets. And has featured at the infamous La-Ti-Do (DC).
“The darling strumpet of the crowd”, nineteen-year old Nell is celebrated for her comic acting, particularly when she gets to dress as a boy to show off her legs. However, Charles Hart, her manager and former lover, keeps casting her in tragic roles to embarrass her in front of her new amour, King Charles II. Nell fears that if she cannot be her sexy, lively self onstage, the King will fall out of love with her off it. So, aided by the audience in the Pit, she concocts a plan to win Hart round and consolidate both her roles as comedienne and courtesan.