Otieno | Southwark Playhouse | 2010

'There’s freshness and thrilling immediacy to this exciting, intelligent reworking of Shakespeare’s Othello by Trevor Michael Georges. Directed with verve by Poppy Burton-Morgan, it is much more than a concept production. The raw, rapid-fire dialogue is Georges’ own, though it riffs on the imagery and motifs of the original...Burton-Morgan’s staging immediately establishes hair-trigger tension and a disturbing sense that horrific violence has become routine. The performances are strong all round, with Georges a steely and world-weary Otieno, and Goff a tough, independent-minded Diana. Outstanding, though, is Hawkins, making an impressive professional debut as Ian. He brings total psychological believability to the role: affable, even charming one moment, arrogant, steeped in bile and twisted by rage the next, yet contained, controlled, full of quiet menace...this is a highly effective, imaginative response to the classical play that both grips and stirs.' Sam Marlowe in The Times

 

'The structure and themes of 'Othello' work scarily well here, and Georges is clever enough to let the discourse on race burble quietly beneath the dialogue - until it explodes. Designer William Reynolds has put together a deceptively simple set of beer crates, barbed-wire fence and sand dyed an ominous pink, but it's the use of torches - the visual equivalent of the flashes of humour in Georges's script - that really heightens the tension in a play whose outcome is, after all, a foregone conclusion...this is an astute demonstration of the ugly truth that nothing is fair in love or war.' Nina Caplan in Time Out (Critics' Choice)

'William Reynolds’ design is striking and one of the best things about the production. The lighting perfectly suits the changing mood...The use of recordings of actual coverage of the 2008 elections, including some of President Mugabe’s own speeches, is also effective in contextualising and sustaining the oppressive atmosphere of the piece. As Ian, Jack Hawkins plays the villain with aplomb and his easy laughter which never quite lights his eyes is deeply unsettling, while Trevor Michael Georges’ Otieno is commanding and tender making his swing into violence that much more poignant. Poppy Burton-Morgan’s direction is skilled, particularly in the final scenes as the final elements of Ian’s plan are put into play around the bed of a sleeping Diana.' Laura Norman in What's on Stage

 

'For anyone who doubts that a modern rewriting of a Shakespearean tragedy can pack the emotional and intellectual punch of its antecedent, this is the one to change your mind. Metta Theatre have form for producing exciting, smart and accessible shows. Their contemporary style and clear vision succeed where others fail in making classical drama cutting edge. Their last show at Southwark - a modern adaptation of Lorca’sBlood Wedding - went down a storm. With Otieno they have once again exceeded their own high standards, delivering a pared down, intense piece that captures the complex humanity of its characters and offers a considered response to world politics.  They also make shows that look fantastic, and once again this is no exception. William Reynolds’s lighting design is moody and stark, while his floor of blood-red sand evokes the heat and desolation of the country, standing in for blood itself when Diana’s impeccably white t-shirt (and skin) is dragged through it. Racism, betrayal, violence and destruction of body and mind are writ large but played with subtlety and authenticity. None of the cast disappoints. A powerhouse performance by Trevor Michael Georges (also the writer) as the title character holds it all together. He is authentic in everything he does, never less than impressive in range and tone. Jack Hawkins as mercenary Ian, brings a brutal masculinity to the role which belies his cold-eyed, clear-headed cunning. Gifted with the ability to look like a man fresh off a battlefield, his portrayal of casual manipulation, ‘sewing seeds’ of misery, is chilling. Sian Goff as Diana is superb, and the writing of her character particularly refreshing; a fully fleshed out love interest with a strong-headed, fearless approach to love and life, she is much more than just a catalyst for Otieno’s descent into sexual jealousy. She is frighteningly vulnerable in the final scenes, her tiny elfin frame withering under Otieno’s enormous hands as he chokes the life out of her. Director Poppy Burton-Morgan uses this cracking cast to great effect. The direction is smart and slick, playing with light and shadow to increase the dramatic tension. This is particularly effective in the final sequences, with violence exploding around the sleeping Diana. Gunshots in the dark instantly ratchet up the tension levels and give us a glimpse into a world of sudden shocking retribution; a brilliantly conceived metaphor for Zimbabwe.' Katty Pearce in Fringe Review

 

'The whole piece, tightly directed by Poppy Burton-Morgan for Metta Theatre is fast-paced in its minimalist staging, clever use of torches and darkness and efficient controlled explosions...exciting, moving and a compelling theatrical experience.' Church Times

 

'The pairing of Othello and Zimbabwe works all too well...The cast is, without exception, excellent. However, as you would expect, it is Otieno (Othello, played by Trevor Michael Georges, who also wrote the script), Ian (lago – Jack Hawkins) and Diana (Desdemona – Siân Goff) who give the stand-out, most brilliant performances. Highly recommended.' Alice Dickerson in London SE1

 

'Trevor Michael Georges' beautiful writing, integrated original Shakespeare text and plot outline into a powerful contemporary play. He also did a pretty fantastic job at playing Otieno. The revengeful Otieno was terrifyingly painful to watch, as was same broken man at the end. Jack Hawkins as Ian in his first professional theatre role commanded the stage as he manipulated characters and drove the play to its tragic end. Rhoda Ofori-Attah as Barnidele and Sian Goff as Diana produced excellent performances. The last half hour of the play brilliantly maintained the tension and suspense, acting from everyone was sublime... Using a minimalist setting Poppy Burton-Morgan as director has created a powerful, believable tale of love, power and revenge. The use of minimalist lighting was ingenious; at times you could barely see the performers which helped create a suspenseful atmosphere. Shakespeare, I think, would have been delighted.' Susan Rogers in Southwark News

'... beautifully lit as locations change at the change of a light, staged naturally in a sparse setting with agile movement. The cast are sincere and strongly credible... the story is never forced, the cause is just, the company devoted, and worthy of being seen.' Blanche Marvin in London Theatre Review

 

Waiting | Purcell Room, Southbank Centre | 2010

'...a haunting Verbatim exploration of the experience of British-based wives of Muslim political prisoners...The staging by Poppy Burton-Morgan is simple, with the stories cut into each other and variety introduced by Oliver Coates's solo cello and the beautiful singing of Anna Dennis and Carole Wilson each telling further tales of womanly woe, both models of clarity as well as musical beauty. Waiting should be compulsory viewing for the politicians who have the power to invoke change. It is inevitably a chastening experience that should make every viewer reconsider their own values and those of a country that can act like this.' Philip Fisher in British Theatre Guide

 

'perfect staging...absolutely superb...this must be seen!' Vanessa Redgrave

 

'...unusual but strangely moving... the music and song lent depth of emotion and the repetition of the chorus: 'This country I came to for refuge for peace' was hauntingly effective. The portrayal by Simone James (currently in BBC soap Eastenders) of Alexia, a Senegalese refugee, was as majestic and poignant as Juliet Stevenson's portrayal of Sabah, Jamil el-Banna's wife, was slowly intense.' Harmit Athwal in Institue of Race Relations

 

Journey of the Magi | Little Angel Theatre | 2010

'Great singing...a surprising and inspiring evening', '...very genuine, good singers... it is great!' 'Nicely done puppetry on the OHP' (AUDIENCE FEEDBACK)

 

Blood Wedding | Southwark Playhouse | 2009
'The bridegroom’s mother Naomi Wirthner, boiling with rage and pain, has the ferocity of a Hecuba or a Medea. And Marlon Day offers cruelty-tinged masculinity as the bride’s still-burning old flame Leonardo.' Sam Marlowe in the The Times

 

'The whole set-up is terrifically relaxing...this interpretation of the story of a doubtful bride visited by her now-married ex on the eve of her wedding is persistent and watchable. It's all spirited and hugely likeable, particularly a number of blood-chillingly beautiful laments that contrast elegantly with the joyful wedding songs.'  TimeOut

 

'the hard-working cast (doubling up on roles and providing the music) imbue Lorca’s lines with an impressively casual chattiness; and the perplexing, surreal third act is helped by resonances of Caribbean folk tales... strong performances make this a relevant and powerful production.' Siobhan Murphy in Metro
'Strong Performances and a lively use of the audience add a visceral power to Poppy Burton-Morgan's Caribbean-British production of Lorca's sybolist family tragedy.' Metro, Critic's Choice 

 

'a text pared down to its passionate, primeval core, connects the violence of the play and its context with contemporary Britain...Director Poppy Burton-Morgan transports the action from rural Spain to a Caribbean black community and in doing so makes the tragedy compelling and immediate...The music stops and Tai Lawrence as a likeable, boyish, spindly groom doesn’t stand a chance against his rival Leonardo, played by a menacing, muscular Marlon Day...What we witness is the raw, violent grief of the mother left behind, portrayed by Naomi Wirthner, in the most powerful acting of the production.' Barbara Lewis in The Stage

 

'being part of the celebrations makes it impossible not to feel engaged when it all falls apart...There are strong performances throughout the piece with seamless doubling by most cast members. Jade Anouka transforms herself at will from beautiful bride to death incarnate and Naomi Wirthner (who plays 2 different mothers) grows in stature throughout the performance until her grief and anger threaten to overwhelm everyone left alive at the end.' David Trennery in Arts Hub

'There is a very strong performance from Naomi Wirthner as the bridegroom's mother, especially forceful in her final grief. Sophie Benjamin, so outgoing as the bride's sister (servant in the original) is refreshingly different as a neighbour, Marion Day as a passionate Leonardo, Tai Lawrence suddenly seeing his destiny as the bridegroom and a marvellously theatrical moment (borne out of doubling) when the garments she wears as death are carried forward at the end of one scene and placed over Jade Anouka as the bride, as though sealing her fate also... this hard working cast also play the music composed by Jessica Dannheisser, leaving the stage to discreetly take up their instruments. As well as accompanying the songs it adds much to the whole atmosphere of the production.' Howard Loxton in the The British Theatre Guide

 

'Their energetic, imaginative show captures the symbolism of the original without pretension or at the expense of emotional truth...a grieving Mother, played with great depth and nuance by Naomi Wirthner... Jade Anouka is a very sympathetic and strong Bride, delivering memorable lines powerfully...Marlon Day’s Leonardo exudes menacing sexuality...Sophie Benjamin charms and seduces the audience into joining in... haunting and unforgettable... Metta Theatre certainly know how to capture and keep an audience'. Katty Pearce in Fringe Review

 

The Elephant's Child & Just So | Trafalgar Studios | 2008
'Rebecca Lea sings with wide-eyed wondrous puzzlement as the baffled Painted Jaguar, and irrepressible naughty sweetness as the eponymous Elephant’s Child. Jason Piper relishes the inordinately prideful dance of the Kangaroo, spinning on his haunches with astonishing strength and speed, and almost stops the show with an immaculately-timed Slow-Solid Tortoise. Jessica Dannheisser’s score is whimsical and playful, beautifully suited to the arcane sophistication of Kipling’s idiosyncratic fable-language. And Rehanna Kheshgi’s singing of the sinuous music of the great grey-green Limpopo is assured, wise and witty. This is an intelligent, charming and endearingly rough-and-tumble bit of storytelling.' Stephe Harrop in londontheatreblog.co.uk

 

'You should really take your show elsewhere. It's really good and I'm sure it would be really good for kids (school) to see it as it's a mix
of most of the arts.', 'Music was great. Dancing was great. Singing was great. Improvisation was great.', 'Loved the interaction with the audience and very relaxed atmosphere.',  'Loved the bird and the elephant - beautifully executed.', 'Great! Do more!', 'Excellent.' (AUDIENCE FEEDBACK)

 

The Elephant's Child | Arcola Theatre | 2008
'parents with an ounce of common sense should leap at the chance to reintroduce their children to Kipling when Metta Theatre’s refreshing production of The Elephant’s Child goes on a nationwide tour next year...a production bubbling with creative energy. Metta’s strength lies in director Poppy Burton-Morgan’s eye for the most striking of visual games. But children will be entranced most of all by the lilting soprano of Rebecca Lea, as the eponymous small elephant. Lea, the twenty-three year old winner of the 2008 Oxford Lieder prize, deserves to earn plenty of attention from music buffs over the next few years.' Kate Maltby in newcultureforum.org.uk

'The Elephants Child proved to be a delightful adaptation of Kipling’s classic fable, combining dance, song, puppetry and story telling into an effective drama to entrance both young and old.' Serena Fenwick in musicalpointers.co.uk

 

La Voix Humaine/La Livre Blanc | Riverside Studios | 2008
'It is quite beautifully sung by Rebecca Lea... A solo piece which is extremely demanding on the performer with three-quarters of an hour of high emotion she had no recourse to obvious histrionics but maintained an intensity of feeling that held the audience...I found the puppets most effective.' Howard Loxton in British Theatre Guide

 

Hamlet – A Retelling | White Bear Theatre | 2007

'It is strong, steady and keeps you inside the story throughout...her all female cast give the play softness and fluidity...Sian Robins-Grace is solid in the lead role, playing out her anguish and confusion convincingly... Cassie Raine is a controlled and kingly Claudius... Sarai Kirk's Polonius is sure to receive many laughs and Shelly Islam plays Ophelia's madness with subtlety.' Lalayn Baluch in The Stage

'It was the sweet and imaginative details that brought it alive.' Zia Trench in British Theatre Guide

'This is a beautiful and bold production, full of wonderful detail...one of the best Hamlets I've seen in thirty years of theatre-going.' John Weybridge in thisislondon.co.uk

 

Hidden Light | Barons Court Theatre & Oxford Playhouse| 2007

'A simple, intelligent production...It is a subtle, elegant performance... genuinely moving.' Natasha Tripney in The Stage

'The most impressive performance I have seen here in seventeen years.' Ron Philips, Artistic Director of the Barons Court Theatre

'The play manages to present scientific thought and principle in an engaging way by having such an absorbing and convincing character. Emilie seems both of her time and modern...Emilie was warm and engaging, drawing the audience into her world convincingly...The staging was sparse and simple and the actress‘s movements were limited, which made the skill with which she captivated the audience all the more impressive.' Hannah Watson in Daily Info

'One of the best things I've ever seen on the London Fringe.' Kathy Manners in thisislondon.co.uk

 

The Birds | Merton Chapel | 2006
Metta Theatre are to be congratulated for their innovation and courage in mounting this witty and challenging piece of music theatre...interesting and accessible...the production was outstanding. In terms of the vocal performances, they were all excellent. Simon Tavener in Daily Info