SEARCH MY SITE

This was an enjoyable performance tackling a sensitive topic, written and directed by Peter Todd and staged at the Brockley Jack Studio Theatre. The first issue that comes to mind, which I see more and more often nowadays as a theatre critic, is the performance’s inconsistency in style. For this performance, there are two main concerns in this regard: mood, and narrative style. I shall start with the former. It was most surprising, after discovering that our main character might not wake from her surgery, to see a nurse (Proshanto Chanda) using a hairdryer to warm her hypothermic body whilst blabbering on about his holidays. From this moment on, all seriousness and gravity is taken from the play and replaced with an exaggerative comedy, unrealistic and caricatural. Perhaps the intention here was to alleviate the tensions created amongst the audience by Sadie’s (Juliette Imbert) circumstances…if so, why? This change in mood is simply confounding and entirely destructive to the world of the play being built heretofore. It destroys any empathy we have been developing for Sadie, complicates style and mood, and also conveys a sharp degree of insensitivity about the sensitive topic at hand, which is the exact opposite of what is intended here. On to the latter. It is interesting to learn that the idea that originated this play was what I shall refer to henceforward as ‘the MRI movement sequence’ and surprising to see that this gave birth to a play text. Indeed, situated in a dialogue-heavy performance, this sequence seems most disjointed from the rest of the play, but it does have considerable potential in its own right. The use of the LED wands representative of the scanner is most creative and original. In terms of this choreography itself, I would note that this sequence is far too long and thus loses its efficacy in what become mundane/unoriginal and somewhat irrelevant movements: Sadie slow-motion walking whilst the doctors rush around her, or hurrying for an exit, blocked by them and retreating, and so on. I would have liked to see, rather than these more esoteric, interpretive and body-focused movements, a more symbolic and narrative-based approach; I think this would have been more appropriate for this particular performance. One method to achieve this, for example, would have been a better incorporation of the red ball into the sequence, being symbolic of the button Sadie could press to alert the medical professionals that she would like to stop the procedure prematurely. But even this in itself is discontinuous, as Sadie, in actual fact, never signals for the procedure to be stopped, as far as we know, so why the movements with the red ball, those that hold power in ultimately ending the choreography? Additionally, that the sequence should be broken by a voiceover of the doctor repeating the symptoms that she may encounter before the scan…whilst we are halfway through watching the scan take place…is equally discontinuous. Having the doctors represented as aloof, uncompassionate, opportunistic and somewhat secretive is fitting with the narrative we are presented elsewhere, but the repeated looks they share amongst themselves, Sadie's victimisation by them, and having them appear as stubborn, villainous obstacles is quite incongruous. To emphasise and clarify: this is exactly why I believe the cat-and-mouse games of Sadie rushing to escape and the doctors blocking her are unsuitable here. On the topic of the inconsistency of the representation of the doctors in the movement sequence vs the rest of the play: additionally, there is an inconsistency within the latter alone. In particular, Leah O’Grady has a peculiar challenge with the role of Dr Kinsella, and it is unsurprising, given the incoherency in the text, that the profile she presents is ultimately not credible. Dr Kinsella’s language in the written text is sterile, erudite; her speech is active, and she fails to communicate as doctors should: using simple language and presenting empathetically. Then, suddenly, at the end of every one of her scenes, she demonstrates compassion, personal investment, and breaks this sterility of their particularised doctor–patient divide. I should also note here the decision to have the actors multi-role. Overall, the cast members have great vitality and a good command on their roles, and so it is surprising that Chanda, for example, was not chosen to represent the surgeon portrayed by Elise Busset. Sadie’s sister, whom Busset plays, is a primary character, and so having Busset portray this character and the surgeon, who furthermore refers to Sadie’s sister as an entirely different character, allows for semiotic confusion, unwanted metatheatricality and hence audience distancing, and, ultimately, another destruction of illusion — illusion being vital for performances like this that demand psychological realism and emotional audience–performer connection. For this reason, I would recommend Chanda play the role of this surgeon, though I can perceive a propensity of his towards more comedic characters than this serious one, so perhaps this was the reason behind this decision. Despite an adequate performance from all actors, there is a certain lack of urgency across the cast: muscular tension, vitality, transformativity, etc. With this call for multi-roling, I should really emphasise the importance of transformativity, in particular. Characters are simply not distinguished enough, or, when they are, new characters are presented far too caricaturally to distinguish them from previous profiles. This caricaturisation adds an undesirable layer of comedy. Overall, we struggle to find the happy medium between clown-like caricaturisation and a serious and rather stoic naturalism. Lack of muscular tension is particularly noticeable in the MRI movement sequence, with choreography being performed rather routinely.. Corporeal awareness is also note-worthy in this performance, specifically in the opening scene. I hope to be right in my assumption that Busset spilling her beer was not planned, given its clumsy and dangerous effects. What followed was a beyond excellent ad libitum from Imbert and Busset, but especially from Imbert in urging as Sadie that her sister remember that she now has a food waste bin. Excellent de-escalation of the situation, with the actors lingering calmly on stage as though nothing untoward had occurred. However, of course, this should have been avoided altogether with better corporeal awareness. I always recommend for actors daily practice in tuning the body, re-/discovering it, to avoid such onstage mishaps. Control and agency over the body, which has desires and reflexes of its own that must be managed at all times, are key. As for the writing itself, the story does feel notably rushed. We do not have sufficient time to form an emotional connection with Sadie, and whilst the whirlwind deterioration of her life is promising in theory, it is currently written to be the main point of focus over Sadie herself, i.e. the story focuses on how life acts upon her as opposed to how she is acted upon by life. A slight nuance, but this focus takes us away from the individual and their story, their suffering, and towards a mere recital of events wherein a character is a simple means of representation of the ‘every person’ and not a particularised individual with whom we can deeply connect and empathise. “An enjoyable performance aiming to tackle various areas of interest but without a cohesive vision.” Want a technical analysis for your own live performance? Private and public reviews are requestable by all London-based artists and for any live performance type. For more information, please click here. Artists from across the UK and the globe can also benefit from performance analyses as part of my dramaturgy service and can receive guidance, support and training in the form of consultations and/or workshops.

The set for this performance is certainly memorable for its efficient simplicity and naturalistic quality. It is abundant with the characters’ personal items and has a practical feel, allowing for a great amount of interactivity and hence dimension and liveliness. However, the set was not particularly used to its full potential — most memorably, the microwave not being powered, allowing for a unique sense of mime not implemented elsewhere in the performance, but most significantly, the repetitiveness of the set interactions we see. Interactions, whilst somewhat attractive in their mundaneness, representing the humdrum daily actions of the bored and lonely characters, are incomplete or illogical: making bagel sandwiches and food that are never eaten, applying makeup to an already made-up face, pouring drink after drink and rarely actually drinking from the glasses, etc. From the repetition of these actions comes also a lack of clarity in time of day: we are to deduce that the play starts on a Friday night, with their coming back home from outside, Shelley Rivers (playing Woman) in work attire, but beyond this, we know nothing of when exactly the action is taking place. I find it strange also that we are to understand the set as both of the characters’ respective homes depicted simultaneously, yet the characters regularly interact with the very same theatrical properties, despite there being many others with which they could do so, and in the same way. It would be good to see the characters interact with their own, unique properties that share a performative symbolic space but that are clearly, markedly theirs and only ever interacted with by them, much like Man's (Markus Sodergrens) photograph was — the only prop utilised and addressed in such an intimate and personal way. Conversely, the characters did end up locked into certain remits of the stage, outlining in this way their respective symbolic territories. This could have been more effective if it was organised more deliberately, however, with the characters having clear and cogent reasons for remaining in these said areas. I did really enjoy that the characters were separate from one another. That they were in different physical spaces was clear from the very beginning, with the lack of interaction between them and their shared ignorance. However, this was equal parts effective and irritating, with the significance of this being underwhelming. On a similar note, ambit of gaze is a major issue in this performance, with Sodergren addressing the audience directly when signing and Rivers staring into the void above their heads. This imbalance causes for both stylistic inconsistency and disruption in the modes of audience reception. With the songs being used as a storytelling device of sorts, presenting a direct-speech narrative in their lyrics, it is odd that only one character [Sodergren’s] should be approaching the audience, encroaching vaguely on their territory, sat at the edge of the stage, and addressing them individually, seeking eye contact. Perhaps this was an actor-led decision as opposed to a directorial (Robert McWhir) one, however. When it comes to vocal performance, both Rivers and Sodergren have wonderful, melodic voices, and vibrato is achieved well, overall, but diction is a major concern for both — as is volume, particularly on higher notes. Whilst diction is the most significant issue for Sodergren, Rivers must train to have better strength behind her voice when achieving higher notes. Harmonies, unfortunately, are not achieved at all throughout the performance, with the exemption of the finale. Indeed, seeing the performers themselves not melding together in song, the lack of crossover between the characters is over-intensified, which is a shame, as it would be beneficial to see that the characters are united in this, at least — their ‘inner voices’, their sentiments and their nature, and their manners of expression intimately similar. A few notes lost for both performers, but a satisfactory vocal performance, overall. This remains one of Sondheim’s least impressive texts — admittedly a subjective response on my behalf — demanding an exaggerativeness to be fully engaging, one that we only glimpse in a few sequences — Sodergren’s ‘bang bang’s and Rivers's ‘stripping’ sequence, namely. I would certainly recommend further work on comedic timing and further intensity in physicality here to make the sassier or more idiosyncratic moments punchier. Characterisation takes second place to the focus on the vocals, leading to a certain genericism and lack of depth. “A watchable performance but lacking in originality, vigour and stylistic consistency.” Want a technical analysis for your own live performance? Private and public analyses are requestable for any live performance type. For more information, please click here. Artists from across the UK and the globe can also benefit from performance analyses as part of my dramaturgy service and can receive guidance, support and training in the form of consultations and/or workshops.

Regular study is very important to me, not only for my art and practice but for my spiritual side. I have an indefatigable desire to learn about anything and everything, from astronomy to entomology to linguistics to mathematics, and to refresh my knowledge on a consistent basis. So, where do I do all of this fabulous studying, you ask!? What a wonderful and unexpected question! And one that might reveal some study locations that you have yet to consider! The British Library Honestly, I’ve only recently discovered this gem, just a little walk from St Pancras Station…but I’m now obsessed! If I could, I’d move to a world where midnight study and work were commonplace, where everyone woke to the sudden dark of the twilit sky, wide-eyed, busy and ready for the night; where we all hissed at the rising sun and cowered away to shadowy corners at the shatter of dawn. BUT, much to my dismay, it’s been horrendously assumed that we humans are, in fact, diurnal creatures, and I’ve consequently been sorely lumped into the category of day-loving human being amongst the rest of you who are just as sad as me about the whole thing! Studying until 8:00 PM on a weekday is the closest I’ll ever get now, since my 24/6 university library days, to this sublime vampiric fantasy, and that’s why The British Library is a perfect place for me. It’s also the sweet treasurer of rare and unique texts that, usually, only current university students might peruse at their respective institutions’ libraries… Originally, I was actually forced to this library when a desire to refresh my knowledge of Étienne Decroux’s Promethean Mime led me kicking and screaming away from The National Art Library, whose Blythe House’s recent relocation meant that many rare books from the ‘Theatre & Performance’ section were currently unavailable, and towards The British Library’s gargantuan doors. Indeed, the British Library, my saccharine salvation, possessed this strange and peculiar text, Les Paroles sur le mime, and my study days were promptly saved! Besides university libraries, this and the National Art Library were the only libraries accessible to the public (well, to registered readers) that actually had it. Otherwise, I would have had to pay £250 for a single, tattered old copy I had found available online… I love Decroux, but he’s not worth the money, I’m afraid. This was one of many quasi-adventures upon which I would, and still do, find myself embarking here. That pithy cliché of ‘there’s nothing like sitting down to read a book’ rather hits hard in a place like this. Indeed, there’s nothing like reading Antonin Artaud’s Theatre of Cruelty from an old, seemingly occult book, dishevelled and browning, its spine nonexistent, its cover decked with geometric and esoteric illustrations, fragilely preserved and presented to the reader in a sturdy envelope in fear of its eventual disintegration. An enchanting, sensory and visceral way to experience a text on an artform and its power! Beckenham Place Park Semi-recently revamped, my local park is a definite must on autumnal afternoons. Familiar to the inquisitive squirrels I befriended during lockdown and fond of the annual coot chicks gracing the waters of the expansive lake, it’s easy for me to find myself lost in the busy beauty of nature in this park. For me, to discover that a small spider, beetle or fly has been sharing a tabletop with my book or iPad, or my very seat on the bench in the shade of a familiar cedar tree, affords me a special and homely form of peace, serenity and pleasure. Not-so-secret fact about me: I HATE being out in the sun, despite being branded as a "Summer baby" with my birthday being in mid-July (Midsummer in the UK) – and no, it's never too early or late to send me birthday gifts, thank you for asking! ANYWAY! Because I hate being out in the sun, or, specifically, in any heat above my official limit, 12º C, leaving the comfort of my electrical fan that gets a wonderful all-year-round usage, to sit outside in nature's furnace is not particularly appealing, admittedly. Hence, visiting this park for study purposes does tend to be an autumnal or hibernal activity, unless definite shade can be promised and sought! Otherwise, Spring and Summer here are frequently a beautiful haven. It's easy to get a taste of the old, wild world of luscious green grass, meadows and hills in this park; to get a glimpse of the forest and of undisturbed nature. An old mansion and stable, now turned community centre and café, have often tempted me, too! I have yet to try thee vegan ice cream and pizza, but I shall get to it ASAP, I promise! National Theatre Now, this one has always been a keen favourite of mine! Whenever I visit the National Theatre, I’m overwhelmed with a certain nostalgia, nonnegotiably entering into conversation with my memories of visiting as an avid theatre-loving teenager, making the most of the Entry Pass Membership offered, to this day, to young people up to the age of 25. Used to be £5 a ticket! Bargain! I would devour up to three plays in one day on a regular, sometimes even daily, basis, seeing a huge range of performances from all-day Chekhov to Alice in Wonder.land and The Threepenny Opera — performances that immediately and sweetly come to mind. It was at this theatre, in what we referred to as ‘The Shed’ (AKA The Temporary Theatre — aptly named) that I first felt the transformative power of didactic theatre for myself, with one particular performance that left a palpable mark upon my teenage self, a mark I am left with today. The performance was Blurred Lines, and perhaps I’ll write properly about that at a later date… It was also here that I attended my first-ever press night as a theatre critic, being asked to review my all-time favourite play, Hedda Gabler by Henrik Ibsen. It's a review that I dare not look back on now, with my hopefully maturer and more seasoned critical eyes, but a fond memory, nevertheless, and an EXCELLENT and special springboard into theatre criticism for me! (But my resistance to look back over that review shouldn't stop YOU, you inquisitive thing! Go see how The Performance Critic has evolved over the years! Click here!) Back on topic! More about theatre and my experiences in a later post… As you can tell, this theatre has had a great influence on my development as an artist, as it has upon a great number of many others. Because I associate it so heavily with these experiences, however, it is here that I turn to theatre and performance studies almost exclusively. It feels fitting, and we do love an appropriate and all-cohesive aesthetic. Eavesdropping into the conversations of other regular theatre-making visitors and even some vocal staff members, this continues to be a place of inspiration and theatre-themed buzz. I also write plays and texts here and, more recently, meet with artists from various backgrounds to discuss and develop projects together. The Café at Foyles Admittedly, I'm in two minds about this one… As you may have noticed, I do love a good ol' academic text! I also find myself able to study in busy and lively places as well as in more peaceful ones. In fact, I think I gravitate far more towards the bustling crowd-filled areas than I do the silent, "tranquil" ones. So, The Café at Foyles is a great place for that. The ambience of the pottering waiters eagle-eyeing the sea of tables to clear the mounting crockery as required; highly strung professionals grabbing their coffees and cakes to sit poised over their laptops, focused and stressed; the cashiers tapping on the tills, grabbing change and pouring teas; and the general knowledge that on the other side of that balcony, down a small flight of stairs is an abundance of books, of documented thoughts and ponderings, CDs and vinyls, DVDs and games… It’s these warming vignettes of life that make a space like this so special and endearing to me. I said I was in two minds about this one, because, whilst it’s a lovely space to study, it’s not ultimately intended for such use. You have to buy something, especially if a café manager is on the prowl…and I don’t want to HAVE to buy a cake, snack or drink every time I visit…I’m a very stingy person! Fortunately for me, my boyfriend does like to buy things! And he also loves to study — or at least, if he has nothing specific he wants to study at the time, he’s happy to accompany me and share our existence whilst I do my thing! Hence, this is usually the spot I go with him when we both have something to work on and when we both desperately want to see and be with each other but have a lot going on in our independent lives to which we need to dedicate some time. When we visit here, I’ll usually have a theatre review I need to write and get to doing that before the studying begins! Bromley Central Library Another study space close to home, I use Bromley Central Library for two things, mainly: its computers and its semi-secret booths downstairs, complete with handy plug sockets. If I’ve got a theatre review that I need to get done and don’t have much time in which to do it, the two-hour limit on the IT suite's computers is the perfect limitation to channel my focus and get a review out of me quickly. I could write thousands of words on all the things I identify within any one given play, and the time constraint here really forces me to be as concise as possible, so that I can dedicate more of my time to my own projects! Otherwise, I tend to study film/photography and Shakespeare here, specifically. Having photographed the wildlife in the neighbouring park, it’s a good place to turn to immediately afterwards to reflect upon the images I’ve just captured. Turning to books on cinematography/photography, either from the library itself or those that I’ve brought with me specially, I can remind myself of some grounding theories and criticism to consider how these coincide or contrast with the work I’ve just produced. I might also turn to MasterClass videos or recorded lectures for this same purpose, instead. Ironic to what I wrote above about enjoying a busy study space, those booths downstairs at the back of the building, tucked out of sight under the stairs, allow for a sense of complete isolation. Perhaps better considered a pod than a booth, I initially thought their existence would have been rather uncommon knowledge, but it turns out I have to arrive early, before any schoolchildren especially, otherwise they get snatched up FAST! Still, when they’re not within the clawing grasp of a fellow bookworm, they’re a peaceful and somewhat futuristic retreat. With their oddly shaped staircase-roofs and gleaming white tables, it’s easy to feel you’ve acquired an enticing glimpse of a Smart future! Well, there we have it! As was your fondest desire, a list of my favourite go-to study spaces! I hadn’t considered before writing this entry how each of these individual spaces calls forth a different, specific study type, so that was an interesting revelation for me! Of course, there are times when I’ll study something altogether different in each of these spaces, but I clearly associate some special study moments with each of these locations. I do frequent some other spaces too, but perhaps they’re less interesting…maybe I’ll drop them a mention in a later entry. Who knows?! Nonetheless, I hope that gave you an enchanting insight into what you were palpably desperate to know about me! Until next time! Be Brave. Be Kind. You Are Blessed.

To support artists towards the end of the pandemic, and to develop my own thinking and practice in training, I am currently offering my services as a freelance dramaturg for free* to first-time clients for up to an entire hour! As a freelance dramaturg, I offer support, guidance and advice on all of the following: For more information on this professional service, and to book your free* two-hour consultation, click here! * Consultations are free for the first hour and for first-time clients only and are offered on the condition that a written testimonial be provided at the end of your session. Consultations longer than one hour and those organised for returning clients are priced at the normal rates listed on this webpage. LINKS To find out about all of the professional services I offer, please click here. And for critical writings on theatre, please click here. Be Brave. Be Kind. You Are Blessed.

Please note: this is a personal public journal; the following words and opinions are my own, and I have not been commissioned or sponsored to write this entry or to advertise this charity and its work. I recently had the absolute HONOUR of working as a freelance photographer for FRIEND Farm Animal Sanctuary in time for their new campaign intending to inform audiences and visitors about the needs and lives of their older animal residents. I managed to produce forty-seven photographs altogether for the sanctuary to use, and the experience left me feeling so moved and inspired that I felt the need to share their work with you all. I am told that the sanctuary is home to over 150 animals, from turkeys to pigs to goats to cows. All of these animals have been rescued from extreme abuse and from their deaths and now can live out the rest of their lives in utter peace and harmony, forming strong and palpable relationships with one another that would otherwise be next to impossible. For the ageing population of animals here, rarely seen alive beyond single-digit ages and yet now over twenty years of age, the horrific ramifications of human intervention and genetics play need to be prevented or, at the very least, eased, if prevention is not possible. This is what this sanctuary aims to do, to protect and nurture these rescued animals as well as to provide them with a constant home and haven, and it does so wonderfully. But it can't do it alone. These animals, living, sentient and passible beings who experience suffering and love just as we do and perhaps even more readily, need the public's help, need your help. Having been so genuinely touched not only by the animals but by the informed, committed and conscientious sanctuary workers and volunteers who take to educating the public so patiently, passionately and lovingly, I could not recommend this sanctuary enough for the charity to whom your donations should go. The workers, and animals, would really benefit from and be warmed by your help. It was so inspiring to see so many beautiful, beautiful animals homed, safe, calm and respected, enjoying the summer glow and eating the proper, healthy food they deserve and for no other reason than to nourish their own bodies, as opposed to being fattened for human consumption. So, if you could donate, please do! Alternatively, help out by attending the sanctuary's many festivals and events held throughout the year! Above and below are some of the photographs I took for the sanctuary. If you would like your own professional photographs to promote your charity or animal-based business, get in touch to book your own photoshoot by clicking on the 'Contact Me' button (three-dot icon for mobile viewers) on the bottom-right of your screen. For more information on the service, click here. Please note: not all photoshoots offered to businesses and charities are free; free photoshoots are offered at Lee James Broadwood's discretion and depend upon the size and nature of your business. LINKS To visit FRIEND Farm Animal Sanctuary's website: please click here. To donate to FRIEND Farm Animal Sanctuary to help them with their current vet bill, please click here. To find out more about my freelance photography service and to book your own photoshoot: please click here Be Brave. Be Kind. You Are Blessed.

I am delighted to announce my next directing job — this time, a Georges Feydeau farce, to be staged in London in March 2023! After a wonderful series of auditions from a dynamic range of committed and inspired actors, we have now finished preliminary rehearsals, having worked on ensemble chemistry, textual analysis and characterisation! We're now moving into Phase 2 of the operation! Bringing the actual play to life! And I couldn't be happier and prouder with the amazing work my actors are doing so far! Make sure you’re subscribed to this website to be notified whenever more information about this spectacular performance is released — it’s definitely going to be worth the watch! I shall be sure to post rehearsal footage and images to my Instagram, too! @ljbroadwood Be Brave. Be Kind. You Are Blessed.

I am delighted to announce that I had the honour recently of working with an amazing crew as a production assistant on an upcoming two-hour horror feature, The Haunting of the Lady-Jane by Kemal Yildirim! The shoots took me to the town of Northampton where I stayed with a warm and welcoming crew of super talented individuals to film on a disused railway, in a country bookstore, a café, a family garden, on a bus, and in a church — and it’s worth mentioning here that squeezing a Black Magic, dedolights and a haze machine into a confessional booth certainly has its challenges…! I would like to thank director Kemal Yildirim and actress/producer Natasha Linton for involving me in this wonderful project, contracting me to work in lighting and set dressing, to manage contracts and paperwork and background performers. From slating to props management, this project was a glorious one in which to be involved! The film has now been finally released, and it was so lovely to see the reactions of the cast and crew! A special team of which to have been part. Be Brave. Be Kind. You Are Blessed.

I have seen theatre quite literally every day for many years, and I can honestly say that this is one of the best performances — if not the best — that I have seen in a long time. Grace Church (playing Frills) and Chloe Young (playing Spills) are comedy geniuses, sharp, bold and spirited, and their work here is intelligent, exhilarating and inspired. The characters of Frills and Spills satirise the social conceptions of the upper class, condemning the disenfranchised and the unprivileged in a fashion most laughably self-referential and self-demeaning. From their excessive consumption of croquembouche to their overly lavish attire, Frills and Spills critique relationships between and manifestations of power, privilege and pleasure. Their acts are positively outlandish, garish and, above all, disturbing. The material is presented in such a manner that classist ideals and abuse of social advantage are dehumanised and satirised, made laughable and mockable, and visual inspirations taken from the Georgian era make this all the more readable. Church and Young have definitely mastered the grotesque, from their strange sexual proclivities towards one another to their eating trampled treats off of the floor and wiping vomited food onto one another’s cheeks. These monstrously self-indulgent acts of gluttony, pride, entitlement and narcissism make the vision all the more riveting and beguiling, brutalising and extremifying the characters and their sociocultural representations to a most sensational degree. It is clear that there are elements of this performance that are improvised, as expected by a performance that plays off of its audience in such a way, and this brings a most personal feel to the show. The ending, in particular, wherein the audience are asked if they would like things to remain “as they are”, with Spills in charge over Frills, or if Frills should take back the reins instead, is most successful in regard to this. Combining their sheer hesitance towards — nay resistance against — our decision with an uneasy “Oh…right…we’ve never done this before…erm”, we get the impression that Spills remaining in charge is an exclusive only for us, that perhaps other audiences choose or are forced to see Spills regain her superiority, instead. I am sure that this ending is very much desired, even engineered, but the possibility of another ending produces a sense of specialness and intimacy, which is most fruitful. This is emphasised, of course, by the audience-specific interactions that occur, tailoring each performance to each evening. This performance is truly almost perfect. Thus, the comments I make below are not so much details of what was unsuccessful or ineffective [as there was very little that was so, in my opinion] but, rather, minor critiques on how existing features could be even sharper and richer. There are often moments between routines where the performers stay deliberately still, staring out into the audience, either shocked, stupefied, overly offended or in absolute awe of themselves or what they have just done. These moments of tension, existing both physically within the bodies of the performers and socially within the room, are most fruitful, as this sense of inertia, ambiguity and discomfort intensifies the creepy, unpredictable and inhuman feel about the two characters, enthralling us all the more when these tensions are relieved. However, I would note with importance that there must always be a sense of animation (moving eyes, extremities, etc.), and a sense that something is definitely to come next but that we are just temporarily halted in the moment. Otherwise, the tension loses this effect of relief, for we are stuck in the moment for too long and settle there unwillingly, or we feel as though the action has been prematurely inhibited, rather than paused. One certainly does get the impression at times, though rarely, as though the performers are thinking about what to do next or, worse, have forgotten such. A simple remedy: either make some of these moments shorter or make sure to constantly animate these moments so as to produce an effect of suspense and tension, noting that becoming physically tenser and tenser is also a form of animation. Related to this, momentum is permitted to fall in places — again, usually in-between routines. I would urge the performers to make sure that there is constantly something happening, some sense of business if not pure chaos. This relationship between business and chaos — over chaos and vacuity — is crucial to a performance like this; it must always be moving, progressing, fluid, never inhibited. Coming out of character and laughing at oneself becomes much too customary to these performers, particularly to Church. In small doses, this plays on the absurdity of the performance, reminding us of the performers behind the characters, of their unboundedness to these actions but their strange volition to execute them anyway, and of how wild, bewildering and whacky the events of the performance are in comparison to the accepted norm. For this reason, it is permissible to come out of character a good few times, but Church comes out of character during almost every skit, and this is less productive. I must admit that there are two routines that stand out to me as the weakest, and these are the ‘British tea’ routine and the fighting routine. This former is adequate until the two characters break out in song, and then it proceeds to lose vigour. I would recommend scrapping this song completely, as it feels far too repetitive and rather as though a simple filler where a song fills required. Stage fighting is very difficult to get right, and if one or two movements look too unrefined, forceless or noncommittal, the entire fighting sequence can be compromised. I am afraid that the vast majority of movements in this routine seemed particularly hesitant or yielding. A lot more commitment and verve are required here. The use of sound effects which typically accompany clown fighting could certainly be of benefit here as well, over-fictionalising and farcifying the action. A good example of where these are needed in this routine would be where Frills whacks Spills over the head with a dish, a moment seeming rather unimpactful and lacklustre without some sort of intensification. In fact, I am surprised that sound effects are not used in this routine, given that the appropriate sound effects do accompany Frills’s miming shooting a rifle. Where sound effects are used like this, however, and as far as music and the more simple lighting goes, the use of tech is more than facilitative. These few comments aside, there is very little else to say other than that this is a most enchanting and wonderful performance. Lecoq’s training once again proves itself victorious, but Stumble Trip Theatre have definitely made both their characters and material their own. Frills and Spills remain throughout excellent and cogent presentations of social thinking, right until they are blatantly stripped down (quite literally) to nothing but a sordid and peculiar master-slave duo. The two are garish, volatile, unpredictable and grotesque yet remain legible and clearcut throughout, tantalising us with a most demented and uncanny yet moreish clownery. Even set and costume remain utterly undependable and whimsical, set allowing for the production of more and more items from behind seemingly too small a folding screen, and costume always changing its image and form. I must note here that costume is most remarkable in Spills’s overjoyed “burlesque” routine in which she strips herself liberally of her maid attire and, ecstatic and cheeky, produces never-ending hankies from her perky-to-sagging breasts. A wonderful example of the absolutely wild tomfoolery this performance is capable of. If only more theatre was as intellectually and hedonistically stimulating. “A stupendous and inspired piece of theatre; an absolute must-see!”

The day has finally come! That’s right, my YouTube channel is here! Video essays, photography and writing tutorials, podcast episodes, painting time-lapses, film reviews, film and theatre history videos, even recipe recommendations, Q&As and vlogs — the whole lot! So, check your favourite interdisciplinary artist out on YouTube by clicking here! Don’t forget to subscribe! And whilst you’re at it, why not challenge to see how hard you can smack the notification bell on its unsuspecting nose?! Let me know how many decibels you manage to rack in! Be Brave. Be Kind. You Are Blessed.

If social media is your jam — or marmalade, though I personally prefer a vegan chocolate spread — then head over to Instagram and give this impressive artist you love so much a nice and friendly follow! @LJBroadwood It’s a great way to stay fascinated by my photography and to be the first to know whenever those juicy theatre reviews are published! It’s free! Treat yourself! @LJBroadwood Be Brave. Be Kind. You Are Blessed.

I thought I’d take the time to respond to an exposing list of questions and prompts about me so that you can get to know me better! What a treat! Age? Currently, I am 24, though I suspect this will change at some point? Not sure. Birthday? 12th July 1997 — and yes, you are more than welcome to wish me happy birthday and shower me with expensive gifts and sugary treats! I would not say no. Star sign? I’m a Cancer! Let’s hope it’s not symbolic of anything… Job? I’m an interdisciplinary artist, meaning that I work across a range of disciplines and often blend them together. My disciplines include writing, theatre, film, photography, art, and art criticism. OK…We get it! You like art! So, what else do you do? I’m a very spiritual person and find every aspect of the world fascinating — even the detestable and the grotesque. I love to learn and so immerse myself regularly in all kinds of things: mathematics, architecture, marine biology, sociology, astrophysics, history, etc. Even though I’m not meant to be talking about art for this one…all of this certainly influences my artistic thinking and visions. If you wanted more on my “spiritualism”, I have a whole publication on this here. Music interests? I don’t really listen to music. I find pop music to be too bland and predictable, and classical music I find either useful at bedtime or as the object of an artistic pursuit or study. However, I do go through phases of obsessing over certain musical artists. Billie Eilish — or, as I like to refer to her, William Eyelash — or HyunA are my most recent obsessions…but these are slowly dying down. Ashnikko is also fabulous. I like unique musical artists, those with a distinct vision, sound and agenda. Passions? 1. Food! Oreos are my favourite — it’s actually a problem (please send help). 2. Sleep. Can’t get enough of it — literally…I have insomnia (please send help). 3. I love animals and insects to the point where I will go out of my way and take the longer route home on rainy days to make sure that worms, slugs and snails aren’t in danger of being trodden on. Favourite news interview? Now you're asking questions! Please, welcome to the stage the myth and the legend, the maker of dreams, Constance Landry: Favourite deadly sin? Jealousy…vanity takes second place. Favourite TV show? Bob’s Burgers is a great shout! Favourite celebrity? Well, in terms of role model, everything she does is amazing, I want to be her, she is everything: Naomi Campbell But in terms of comedy icon, could watch them all day every day, everything they say makes me die: Kermit the Frog and Lady Colin Campbell. (If you don't know who Lady C is, I recommend some quickfire Googling! You won't regret it; she's phenomenal.) Ooh. Two Campbells…how mesmerising. Movies or Books? Movies! Most definitely. I hate reading… Favourite colour? Black. (And for those of you who have been deceived that black isn’t a colour, even though it doesn’t actually exist: purple). Weaknesses? 1. Sometimes, too caring. I try to see the best in everyone and everything. 2. Perfectionism. Everything must be PERFECT. 3. I don’t know how to take time for myself…everything’s about career, career, career. It can be a draining and counterproductive mindset but…’tis me! Strengths? 1. Analysing things. I’m obsessed with answers, and I’m very good at psychoanalysis, so beware! 2. My ability to have an energy level of 1,000% despite constantly running on 2.975 hours’ sleep. 3. I have a unique perspective on the world and don’t follow the movements of the crowd. Anything else you want to say before the jury make their verdict? I hope this was a revealing read! If this tickled your fancy and you want to know more, you can subscribe to my website [for free — and there's a way out in the impossible event that you'd want to unsubscribe]. You'll get email notifications every time a new publication is released and when new web pages and services go live! Until next time, I shall leave you with your newfound weekly reminder: Be Brave. Be Kind. You Are Blessed.

So, you're intrigued by my professional work and yearn to revel some more in the glorious world of Lee James Broadwood, huh? Well, you’ve come to the right place! I use this blog to journal some of the smashing things I get up to every week and to jog my memory of a few notable reasons as to why life is still worth a glimmering smile on a gloomy Wednesday eve! Of course, I'll use the blog to publicise new web pages and my professional services as well, but with so much of my online material dedicated to my practices and work, I wanted to show you a slightly more personal side of me, and a blog feels like the perfect way to do so! I wanted to show you the true and more informal Lee James Broadwood residing behind the glitz and glamour of a beautifully aesthetic website! From public diaries expressing my fondness for my recent activities of the closing week, to vegan recipes and product recommendations, to tips and tricks for artist, to quasi-political vents and motivational spiels, I plan to bestow it all upon you! So, buckle up for an excellently adventurous reading spree! Whilst there won't be a specific day on which I publish entries, I will be aiming to release either one longer post a week or two shorter ones. So, until the next one, have a browse and see what miraculous secrets you might come across! And why not begin your treacherous embankment by glancing over my most popular publications: [Review:] THE LION KING, Lyceum Theatre, London. [Essay:] Rearticulating the Distinction Between Theatre and Performance. My Personal Definitions. Until we next cross paths, I shall leave you with your newfound weekly reminder: Be Brave. Be Kind. You Are Blessed.