ARCHIVE
2010 and 2011
Frankenstein
Based on the novel by Mary Shelley

Performed by    Manuel Lavandera
Directed by       Britt Forsberg
Devised by        Britt and Manuel

“Full of emotion, passion and terror, this one man version of the classic tale focuses on the mental collapse of Victor Frankenstein himself; how a once kind, beloved and sensible young fellow turns into the science obsessed madman as a result of bereavement and desolation. Performer Manuel Lavandera’s main tool in the performance is his body, and the way he uses it is impressive. Although not personally the biggest fan of the one man show format, I must concede that this performance had the emotion and style to keep its audience engaged.”
Three Weeks in Brighton By Vytas Rimkus  2010

Photos by Britt Forsberg

“In Mary Shelley's classic tale, ugliness exists in relation to a universal “normality”.
In this compelling performance, Manuel Lavandera brings the story into the 21st century with a creative interpretation of the monster as the darker side of Frankenstein.
It is all the more gripping for the fact it might lie in any of us.
Lavandera’s accomplishment is to convincingly personify anger, fear, loneliness and longing, bringing often suppressed emotions centre stage.
As a piece of improvisation, his performance is stunning as he contorts his limbs and adopts a voice that roars from his core. He stares out at the audience as though he sees and senses nothing but his own inner terror.
It’s not always clear whether he is in character but this only enhances the point that Frankenstein created his own monster.”
The Argus By Catherine Meek 2011

Next Performance of Frankenstein
Artesanos del a Escena in Malaga, Spain
On The 26th and 27th November 2011

www.artesanosdelaescena.com

2010
KVETCH   by Steven Berkoff



Cast
Frank                       Richard Mehmed
Donna                     Lisa Bealby
Hal                           Matt Haynes
Mother-In-Law        Judith Greenfield
George                    Charles Church

Directed by            Britt Forsberg

 

“Theatre 21’s production of Berkoff’s Kvetch was stylish, humorous and cutting. Set in mid-Eighties, acquisitive dystopia, the play deals with emotions held in check by moral conformity; so much so that man and wife live out sexual fantasies and end up with partners who take them away from the daily grind of extended family life built on a Jewish schmutter salesman’s wage. Stylish sets and costumes added to the verisimilitude with the voluble outbursts when the masks were dropped laying bare some real steel. Fantastic stuff from director Britt Forsberg.”
Latest 7   2010  ****  By Jan Goodey

“On Saturday night I saw a play at the Brighton Media Centre. The play was Kvetch, by Steven Berkoff and was part of the Brighton Festival Fringe. It was a scream. The story revolves round a salesman and his wife who are almost paralysed by their fear of what other people may think. The play opens with the salesman heartily inviting his work colleague home for dinner whilst internally dreading the idea that the man might accept.
The play explores the timid fears that we have of venturing outside our mundane existence. The fear of society and the fear that if are true to ourselves then we might lose the material and social possessions that we have grown to reply on. Perhaps even the fear of death.
A fantastic production that had the audience laughing from the very start.”

Talking Bollocks 2010  By Jonesxxx

Photos by Britt Forsberg and Sarah Olivier

2010
Expresso

Devised by the ensemble

Cast
Sarah Charsley                       
Gratia Churchill         
Sarah Davies              
Matthew Eden
Steve Clarke

Directed by Britt Forsberg

 “Meet me on the platform and we’ll take the train to somewhere, don’t be late the train to somewhere only arrives once a year.”
With this in mind we must seize the moment and live in the here and now, according to Theatre 21. Using physical theatre, mime, poetry and a lot of cleaning utensils, five performers took us through a series of sketches looking at odd encounters, love and dreams. The programme said to expect some recognisable character types and the actors created some distinguishable characteristics but with hilarious exaggeration. Characters included the skinny-latte drinking, continually pouting woman, who compared herself, unfavourably, to models in Hello! magazine.
Then there was the robotic, grunting body-builder who growled menacingly at a female audience member: “Why don’t I pick you up and throw you into my cave?”
All performed various dances with brooms and feather dusters and even created a bizarre love dance between two washing-up brushes.
Music by Mamaku Project enhanced the slightly bewildering but nevertheless entertaining features of the sold-out show.

The Argus By Tania Deaville

Photos by Britt Forsberg, Lis Long and Sarah Olivier