Category: Performance

The Breakfast Club: 33 Years Later

The Breakfast Club: 33 Years Later

It’s been exactly 33 years since the day that five teenagers entered the library at the imaginary Shermer High School for their Saturday detention – it’s been 33 years since Brian wrote a letter to Mr Vernon dismissing his prejudices of them as people rather than just teenagers – and so it felt like a poignant time to discuss my love and admiration for the fantastic film that is The Breakfast Club.

Since first watching it at sixteen, I have found The Breakfast Club refreshingly unique, even if it does deal with some of the most stereotypical, archetypal characteristics of young people I have ever seen. But that’s the subtle beauty of the whole film, and why I think John Hughes did such a wonderful thing with it; the whole point of the film is that the outside world, the camera and the school, teachers and parents, see these teenagers as their stereotypes – but somehow, through meeting each other on a Saturday, they realise this is not who they are at all.

Insightful, wonderful, and also very weird, The Breakfast Club jumps about all over the place; the teens yell at each other, spit insults and threaten each other, before suddenly running around the school, smoking weed, dancing and spilling their deepest secrets in a matter of two hours – it’s overwhelming. It’s also part of why I love it – the film covers such a vast range of emotions the same way we can so easily swap them as teenagers finding our way in life (just ask my seventeen year old brother), but it doesn’t get swamped by these. It still lends itself to our teenage truths, hopes and fears, and even as adults I think there is something to be learnt and taken away from the film. We cannot let our hearts die.

Though it was filmed before my time, I have never seen a teen movie since The Breakfast Club that matches its understanding, thought-provoking nature; except for maybe Mean Girls, which can also match it for sharp writing, interesting humour, and a ridiculous amount of memorable quotes. However, The Breakfast Club is also unique in that the majority of it it takes place in one room and is mostly dialogue driven – which makes it easy to see why people have tried adapting it to the stage. Even I did, in a small-scale adaptation of the film which I put on for my University’s Drama Festival in my second year.

It just goes to show that it may be 33 years since Brian wrote that letter, but teenagers never change, and The Breakfast Club always has something more to give. It is as touching, honest, raw and true now about its characters and their values as it always has been. It’s no wonder it’s a classic. Verdict: 10/10.

Godspell: A Review

Godspell: A Review

Shotgun Theatre is the University of Exeter’s more ‘unorthodox’ musical theatre society, offering a social membership, inclusive ethos, and putting on dynamic and interesting pieces of theatre throughout the academic year. Their first term musical was the off-broadway production Godspell, originally written by Stephen Schwartz. I would try to explain what the plot of the musical is… but I honestly have no idea.

Godspell is also known as “Godspell: The Musical based on the Gospel according to St Matthew”, and that should hopefully give some kind of clue as to what it circles around. It follows Jesus and his disciples, running through various parables as miniature stories and songs that make the musical into a whole.  At least, I think it does – having never been particularly religious, I hadn’t heard of many of the parables previously and so didn’t really understand where the musical was going, or (for the majority of the time) what on earth was going on.

Saying this, I never lost focus or became disinterested with Godspell, and I think this definitely has to do with a great creative team, cast and crew. Joe Miller’s direction brought the stories alive through various means; humour, interesting and varied staging, puppetry, levels and light design all played a part in creating a enthralling performance. All the cast were highly engaging and their vocal talents were exceptional, both as a chorus and individually. Occasionally, there was a moment that you could tell one or two voices were tired, but otherwise it was beautiful, with well developed harmonies and a score that had me humming as we left.

The difference between the actors who played Judas and Jesus was a nice, stark contrast; Miller made a successful choice in blind-casting for his performers, resulting in Emily Lefoy being cast as Jesus. She carried the humour and severity of the character well, switching smoothly enough between the two that it seemed to confuse the audience and the rest of the cast alike; we felt their distress as their ‘master’ grew cold and retreated from them.

I enjoyed the cast as individuals as well as an ensemble, and though I didn’t quite understand it, the music and action was precise and polished enough that it made Godspell a thoroughly enjoyable experience. If you didn’t get the chance to see it, then you have unfortunately missed out on a wonderfully entertaining (if a little strange) evening.

Musically superb, visually eye-catching and delightful, Godspell had a fabulous cast and what must have been a great crew in order to pull this wacky, nonsensical performance to the heights it reached. Godspell was definitely a night to remember. Verdict: 8.5/10.

Shotgun Theatre’s Term 2 production, Made In Dagenham, is on at the Exeter Phoenix from the 16th-19th of January.

Sealed: Review

Sealed: Review

Theatre With Teeth (TWT) is one of the University of Exeter’s theatre companies, and supports student writing by putting their play-writing on as performances through out the year, among other productions such as adaptations and devised work. It gives these students the chance to go through the entire process of creating a play, from the seed of an idea to the final performance in front of an audience.

Sealed was TWT’s second major performance of the Autumn term (after Bright and their Evening of One Act Plays) and was written by Will Jarvis; it was also directed by Jarvis, alongside co-director Niamh Smith. It follows 6 ‘strangers’ who get a mysterious invitation to a house in London, and follows their evening within the house as they try and figure out why they have been asked there. The majority of the first act shows the 6 strangers getting to know each other, trying to guess why they are there and not quite understanding how they are all connected. The real reason for their invitation isn’t revealed until fairly late within the second act after a seventh arrival to the house, ‘Roxy’, appears and starts dropping hints.

Sealed is a touching piece of theatre, which deals with loneliness and the interactions that we have with the different types of people we meet through out our lives, and the way our personalities may change as we grow up. Jarvis has found the interesting balance of creating characters who are individual to each other whilst still being a stereotype of a ‘type’ of person each of us are bound to encounter at some stage in our own lives. It results in a clever dynamic where Jarvis has been able to tap into our perceptions of stereotypes, personalities, and how individuals behave within a group.

There were some excellent moments within Sealed, both through the dialogue and the actors’ performances. Overall, it was a great piece of theatre with as many twists and turns as you could wish for with a mystery, which also managed to find the right balance of comic relief dispersed within what otherwise could have been quite serious, heavy content (especially within the second act). I raise my hat to Jarvis and Smith for finding such a varied and talented cast, and the cast should be very proud of themselves to have put on such a sharp, polished performance in such a short time frame – I’m sure it was a lot of hard work, and it definitely paid off.

Occasionally, however, there were moments where I questioned the reality of Sealed. For instance, I doubted the group’s immediate desire to get drunk with the bottles of wine sitting on a table when they had not yet seen their host; it struck me as odd that this would be a group of strangers’ first unanimous decision. However, as a fellow writer I understand that Jarvis would have found it difficult – within a two-act, hour and a half time frame – to get all and the close relationships or confessions out of a group of strangers without ‘speeding up’ their friendships and openness with some ‘liquid luck’ (wine is very good for that). So these questions of the play’s reality were easy to ignore, and it wasn’t hard to be put back into my suspension of disbelief and enjoy the performance I was watching.

Overall, Sealed was a strong, moving piece of theatre, if in need of a bit of refinement if TWT were to take it any further than the three performances they did in November. Sealed did not automatically strike me as a piece of student writing, nor would I have immediately seen the cast and crew as students either (drama or otherwise). It was such a well-brought-together performance which included slick effects when they were needed, dialogue the performers looked comfortable with, and an obvious sense of chemistry within the group. Just goes to show, students often outshine their stereotype too – and as Sealed proves, we should see people as individuals in order to understand and appreciate all our differences.

Verdict: 7.5/10