Cameron Scheijde reviews student theatre company Cellar Door Theatre's latest piece, Edward Gant's Amazing Feats of Loneliness by Anthony Neilson
Cellar Door Theatre company are a triumph. They can tell stories, bewitch an audience and leave you crying, either in sadness or in laughter. A student company, born the brain child of a few 3rd year theatre students, that can put on productions with stunning value and aesethetics to challenge not only the high standards of their previous shows, but of professional theatre itself.
Cellar Door's previous works have demonstrated their command of all things visual, however, could they replicate their success on the new surroundings, the Alma Tavern?
Yes. Indeed, their set stands proudly over the proscenium and creates a perfect environment for the chaotic two hours that is to follow. During the first half, you have little chance to catch your breath between fast-paced action, hilarious dialogue and energy that beguiles beleif. The cast, made up of only four actors and three musicians, pours every ounce of energy they had into the show, as the beads of sweat that trickle down each performer's face could testify.
When it comes to aesthetics, Cellar Door stand resplendent above the rest
The set, draped in red velvet and covered in deep-rich, detailed murals echoes the tatoos etched on each performers skin. The sheer attention to detail exhibited by the entire production team is deeply, deeply impressive.
One member's masterwork deserves special recognition, however. Hiranya Griffith-Unny's costumes dazzled in glorious colour, and her masterful craftwork is simply unmatched on the Bristol student theatre scene. There is no comparison in student theatre and other productions cannot hope to compete: when it comes to aesthetics, Cellar Door, and Griffith-Unny in particular, stand resplendent above the rest.
Costume designer Hiranya Griffith-Unny's detailed costume designs (Facebook / Cellar Door Theatre)
The show itself, for all its material merits, matches the Cellar Door style to perfection. Gloriously gothic, the first half is hilarious, fast paced and energetic. I left the theatre for the interval wondering how Cellar Door had lost their touch, offering a merely amusing and positive offering. How wrong I was.
The second half is dark, deep and disturbing in parts but nevertheless retains the style set out before the break. It manages to strike the balance between frivelous and dark perfectly, a feat not to be underestimated. Each performer cultivates their roaming traveller character, and each sub-character, to bizarre perfection.
Similarly, the use of live music is perfect: an atmospheric underscore that shows to any budding theatrical creative just how on-stage music should be done.
Akshay Khanna opens the show and dominates throughout as the titled showman, Edward Gant. A founding member of the company, Khanna is an acomplished performer. His confidence and calm throughout is a benchmark from which all other performances stem, and despite being a comic character he demonstrates remarkable depth. Similarly, Thomy Lawson, a regular performer with Cellar Door and fresh from her stunning Frankenstien, was remarkable. The dexterity Lawson demonstrated in her movement along with her hilarious characterisation and vocal skill was another marker of Cellar Door's exeptionalism; their ability to attract and cast the very best performers for their roles.
'Teja Boocock should be immensely proud of all she has achieved'
This was most demonstrably clear with their casting of first-year Andrew Simpson. Simpson has big shoes to step in to but he matches every performer's energy and determination to put in the very best of performances. Dylan Sutcliffe's performance is also impressive, though the other three performers had a tendency to overshadow him.
The Alma, transformed (Epigram/Cameron Scheijde)
This show will not be for everyone. Indeed, most of the humour revolves around smut and swearing. The second half is bizarre to the extent of being absurd, which, as someone who knows the company, is completely expected. However, seeing it blind might make it come as a shock that undermines what had been, apparently, a positive and happy show.
Much has been said of Cellar Door's success but at the helm is a stalwart of theatre who has proven herself to truly exceptional director. Teja Boocock should be immensely proud of all she has achieved, and her latest offering leaves very little to be desired. The show was a high-energy celebration of storytelling and leaves you with a tangible feeling of joie de vivre.
The old societies of the Bristol Drama scene should be worried, the new kid in town is good. Very, very good.
★★★★
(Featured image: Facebook / Cellar Door Theatre)
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