Shining Lights bring stars from the east
The Coming of the Kings. St Mary's Church, Thatcham, on 17th December and Our Lady's Church, Thatcham on 19th December.
How do you recognise a king when you see one? This was the odd dilemma faced by the innkeeper and his wife in Shining Lights' The Coming of the Kings. They are told to expect the arrival of three kings when a fortune-teller visits them and the nativity unfolds in an unusual way.
Originally written by Ted Hughes as a radio play, it gives a light touch and twist to the traditional Christmas story. The talented young cast showed great conviction and focus in their presentation at Our Lady of assumption Church.
Lacking the trappings of a theatre, they performed in a compelling way, showing excellent acting, both in ensemble and individually, with Pete Watts' sure direction adding style and flair and brilliant touches. Opening with an effective, rough street-style rendition of Oh Little Town of Bethlehem, we moved into the story with the greedy innkeepers and their bickering and confusion over their guests, at the core of the action.
The dialogue is written in verse and the actors coped well with this, bringing it to life - the innkeeper and his wife (Daryl Hurst and Jessica Welch) were excellent, and enjoyed their comedy moments. Chantelle Davision showed great presence as the fortune-teller and Aine McGarvey, Katie Hartley-Kane and Ellis Carveth as the priest, businessman, police inspector and finally, the three kings, brought much to their duel roles. Their slow and serene entrance as the kings was very moving, as was Harley Ilott and Beth Richards' final, excruciatingly-slow arrival as Joseph and Mary.
The staging was simple but effective in the lovely setting of the church. Effective props and good use of space put us in the mist of the action, with entrances and exits up and down the aisles. Modern and period costumes worked surprisingly well together and for me it was a super piece of theatre.
A delightful start to the Christmas season, to remind us all, whatever our beliefs, what it's really all about.
Trevor Dobson Newbury Weekly News 3rd Jan 2008
Fear and sacrifice at the time of the plague
Shining Lights Youth Theatre: The Roses of Eyam, at New Greenham arts, on Monday, July 14th and Tuesday, July 15th.
When the plague arrived in the Derbyshire village of Eyam in 1665 and people started to die at an alarming rate, the Rev William Mompession overcame his difference with the Rev Stanley, the pervious rector of the village.
They co-operated to persuade the villagers to prevent the spread of the disease by quarantining themselves from the outside world.
From the very start, we felt we were all part of the village, with the cast emerging from seats within the audience, each quietly quoting an appropriate phrase as they moved onto the stage and drew us into their story. The setting was impressive with an imaginatively constructed oak tree as the focal point surrounded by the streets and houses of the village. As the story unfolded, these houses were marked with red crosses when the disease overcame their occupants and the enormity of the tragedy was laid before us.
Throughout the play, the skilful lighting and gentle background music added further atmosphere to the situation. The cast of nine played all the principal roles as well as those of the villagers.
Although this play was originally written for a large cast, these performers created the impression of numbers with well choreographed movements and groupings. The use of 'puppets' for the other significant characters was ingenious, well handled and particularly effective for the boy separated from his girlfriend from a nearby village.
Daryl Hurts was excellent as William Mompession, as he first showed leadership and determination to guide the villagers and then, with Chantelle Davison as Catherine Mompession, was brought down to a low with the emotional death of his wife. This particular scene was very well done.
There were also excellent performances by all the other actors, notably Katie Hartley-Kane as the Rev Stanley and Tom Harland as Marshall Howe. The Plague reached its climax in 1666 and the scene of the open air service was particularly poignant when the surviving villagers listed the names of more people who had died and quietly placed further crosses on houses.
This was a powerful, well directed play with a group of young talented actors.
PETER KEARNS Newbury Weekly News
Humbling Performance
The Roses of Eyam, New Greenham Arts, July 2008
The Roses of Eyam by Shining Lights, is based on a true story from 1666, when a parcel of clothing was transported to the small town of Eyam, from plague riddled London, causing the plague to engulf the town's inhabitants, leaving few survivors. Shining Lights told the story, as adapted by Director, Pete Watt with maturity and conviction.
The relatively small cast led the audience, confidently through the often harrowing story. As the cast was so small, many parts were doubled up carefully, even using puppets at times, to play the children of the town. Daryl Hurst played, with aplomb, the Rector of town, who had to direct his parish in time of need. Who in turn had to look within themselves, as they came to the conclusion that they had to stay in the town, without anyone leaving or entering, in order to quarantine the killer plague. A difficult and sensitive subject to tackle by any means.
A malfunctioning puppet is enough to make even the strongest of actor's corpse on stage, but Katie Hartley-Kane handled the situation with absolute professionalism. Excellent performances were had by Chantelle Davison (the Rector's wife), who's confession of the discovery that she was dying was tenderly and skillfully acted, as was Alec Burrell's demise and suffering. Other notable performances came from Tom Harland, Àine McGarvey and a convincing Anna Roberts.
Direction was sound. There was something very filmic about the whole piece, with the use of constant background music, adding layers of texture for the cast to work within their set of black and white, which contrasted with the period costume. The monotone nature of the visuals juxtaposed nicely with the complexity of issues, concerns and fears racing within each member of the town.
All in all, a very entertaining, thought provoking and humbling night was had, in the capable hands of Shining Lights.
M.C Godfrey Thatcham Chronical
Shining Ensemble
Beauty and the Beast, 20th January at New Greenham Arts.
The story of Beauty and the Beast has been around for centuries in both written and oral form and more recently on stage and in film and video in many incarnations. Shining Lights version, written by Laurence Boswell, properly set the action in France.
Director Pete Watt created another fine piece of ensemble theatre, a trademark of this company, with the ever-present talented young cast moving fluidly through their dual roles for we were introduced to two worlds. One the cosy domestic world of the merchant and his family and the other, a magical and nightmare world dominated by the Beast. The second was effectively realised with the use of masks and the cast using strange jerky automata movements.
Uniting the two was Beauty, sensitively played by Anna Roberts who gently portrayed her spirited sense of duty which eventually matured into love. The tale was told in a narrative style, which can be tricky, but the cast handled it well and apart from a couple of dips in pace on the first night, it was admirable.
Daryl Hurst as Beauty's father was excellent with an elegant delivery of his dialogue. As the White Witch, (doubling also at the last minute as Beauty's mother due to the indisposition of Jessica Welch) Aine McGarvey, showed great presence, giving a high quality performance. T
om Crooks-Smith's Beast was sinister, yet evoked our sympathy with his painful speech and demeanour, well done. There were good performances from the three sons; Andre (Jake Newton), Phillipe (Eddy Futers) and Emile (Callum Watt), both in their individual roles and as part of the ensemble.
As the demanding and rather unpleasant daughters, Caz Harrold (Veronique) and Helen Perry (Marie Clare) were on sparkling bitchy form. And completing the ensemble was Ellis Carveth. Costumes and setting were well thought-out (with excellent use of the space) and the lighting and music all helped to set the mood of the piece.
Aine McGarvey's last minute doubling of her roles was brilliantly handled; had we not known most of us would have been none the wiser. All credit to Shining Lights for pulling it off in such fine fashion.
TREVOR DOBSON Newbury Weekly News
Its a Mystery!
April 19th 2009, a sunny Sunday saw the first annual Theale Green Mystery Cycle Community Drama Event.
Building on the success of Christopher Lambert's funny and accessible adaptations of the medieval mystery cycle plays, Theale Green Community School staged and hosted an Easter festival with local dramatic groups each taking on one or more plays in this classic cycle.
Starting with a splendidly delivered 'Adam And Eve' from the Sainsbury's Singers, the programme of events moved on to Shining Lights with 'Noah's Ark', 'The Crucifixion' and finally 'The Harrowing Of Hell' brought this new mini festival to it's close.
Situated on the mysterious mounds in the sports field the whole event had a sunny and happy community mood, with the audience genuinely supporting the excellent performers in all four plays. As with the way of the Medieval Mystery tradition each group of performers were able to watch and support each other, and the difference of styles in directing, staging and approach gave an enriching variety to the creative feast.
Theale Green's very own Nigel Wilson directed The Sainsbury's Singers' 'Adam and Eve' with a stylish and comic confidence, taking magical advantage of the polished skills of his cast and his player's wide range of ages and types. Nigel also played a very convincing God.
The Shining Lights Youth Theatre, led by Peter Watt, brought us their three plays with the same cast of seven, and the young performers moved effortlessly from character to character. These plays were directed by the actors themselves, with Peter's helpful talents and support, and they made great use of a range of theatrical styles and powerful images.
We very much hope that this event will grow and grow. By next year it would be excellent to involve even more local dramatic groups of all kinds, each bringing their own styles and energy to even more plays in the Mystery Cycle of ten stories. There is even talk of a 'Harrowing of Hell' barbeque, an 'Adam and Eve' fruit stall, and if health and safety allows maybe a 'Noah's Ark' paddling pool!
Jonathan Shelley on BBC Radio Berkshire.
Young bloods of the stage
Shining Lights: Medea, at New Greenham Arts, on Tuesday, July 21 and Wednesday, July 22.
Shining Lights set Greek tragedy in the aftermath of the Second World War.As we entered the auditorium, two young men in RAF uniforms stood in silent sentinel each side of a blood red door and the women of the house went about their business. It was intriguing and set the scene for things to come.
Medea is the sequel to the well-known Golden Fleece saga and, always up for a big challenge, Shining Lights youth theatre played the action against the aftermath of the Second World War, instead of the ancient Persian war, as originally written by Euripides.
This had the effect of making the characters more accessible and using the 'women of the house" - washer-women and the like - to portray the traditional Greek chorus, was ingenious and effective.
Peter Watt's sure and excellent direction and creativity was evident throughout, and the period update was inventive.
Occasionally, some of the dialogue lacked strength in delivery, but the quality of the cast ensured high standards of acting throughout.
Jessica Welch's Medea was a tour de force, for such a young actress, powerfully evoking the emotions of passion, jealousy, love, and dreadful vengeance - the themes of the play.
Daryl Hurst's eloquent and intense portrayal of Jason (again in RAF uniform) was impressive.
The two guards changed their RAF jackets onstage to become other characters - Christopher Harper, Creon the ruler of Corinth; and Alec Hopkins, Aegeus, the king of Athens, both using their excellent acting talents to create their powerful characters.
Freya Poole (nurse) and Aine McGarvey (tutor) too, were accomplished and Anna Roberts as the messenger delivered a blood-curdling and absolutely riveting account of Medea's terrible revenge.
I loved the use of puppets to portray the children (puppeteers Eddy Futers and Charlotte Allen). It was brilliantly conceived, sensitively and beautifully handled and fascinating to watch.
The set was simple and worked well, lighting was suitably dramatic, unobtrusive music added atmosphere and costumes had a good period feel. Well done to Peter Watt and Shining Lights for yet another challenging and compelling piece of theatre.
TREVOR DOBSON Newbury Weekly News
Hotel reunion for actors
Shining Lights: Hotel, at New Greenham Arts, on Saturday, August 8.
Checking into a hotel room gives you the powerful release of anonymity, yet the interweaving stories in Caryl Churchill's Hotel gave the audience at New Greenham Arts an insight into something much deeper. Portrayed by the Shining Lights' cast, seven seemingly separate predicaments were interwoven with engaging ensemble work and enthusiasm.
We caught only snippets of the lives of a couple (Lucy Butler, Carl Stallwood) having an affair, two gay men (Alec Hopkins, Tom Harland) struggling to come to terms with their relationship, a business woman (Charlotte Allen) apart from her loved ones, and a person seemingly obsessed with birds (Jessica Welch) - and had to make our own decisions about the outcomes.
The themes were loss and disappearance, something that was conveyed effectively from the outset by the stunning set design.
It's hard to believe that Shining Lights have been working with young people for 10 years now, regularly impressing audiences with outstanding productions.
For Hotel, 10 years of company members came together to rehearse and perform the play in just one week, culminating with the performance on Saturday night.
The play tells the story of seven couples occupying the same hotel on the same night, with an overriding narrative arc of a lost diary tying together each of the scenarios.
The cast shared the stage for the duration of the play, and used the space well, effectively portraying not only that they were in separate hotel rooms but also the interweaving nature of their tales and the claustrophobic feel of so many lives being lived in one building. Praise must go to Pete Watt's direction for this atmospheric achievement.
As well as the familiar rituals that go with every hotel stay - channel surfing, coffee drinking, being disturbed by the arguments and drunken caterwauling of other guests - there were also some moments that jarred with the realism of the piece.
For instance, a very impressive ghost (Sophie Hicklin) popped up out of nowhere, projected onto a screen with a haunting vocal refrain, and for some reason all the hotel guests were far more modest than most of us in reality, retiring to the bathroom to change and wearing more clothes to sleep in than they had been wearing that day.
Hotel was originally written and produced as a jazz opera, and this was apparent through the melodic feel of the piece. Carl Stallwood began the show with a mesmerising rendition of New York State of Mind and the repeated refrains, pauses and songlike interjections of the French couple (Marc Godfrey and Aine McGarvey) gave a certain musicality to the evening. The violence of the drunk couple (Abi Preston, Neil Edlin) counterpointed beautifully the indifference of the US man (James Elliott) to his long-suffering wife (a haunting performance from Katie Hartley-Kane).
At times it felt as if there could have been more urgency to the proceedings, with the conversations not quite overlapping as they should, which would have given the play more of a polished outcome.
One of the nicest parts of the evening, however, was reading the company biographies in the programme. It's great to see how many happy memories Shining Lights have given cast members past and present, but also how successful each of them have become in their own fields. Shining Lights surely gives as much delight and enjoyment to their cast as they do to their audience.
JENNIFER COLLINS - Newbury Weekly News
Cinders crosses to the dark side
The Ash Girl, at New Greenham Arts, on Tuesday, December 22 and Wednesday, December 23
Ten years ago, the audience battled through the snow and ice to attend Shining Lights' production of Timberlake Wertenbaker's The Ash Girl, and the weather certainly repeated itself for their 2009 performances.
The play was perhaps the antidote to the sugar-sweet pantomimes on offer - this being the darker side to Cinderella, much more menacing and foreboding. Director Pete Watt used a simple set, with a haunting soundscape and dramatic lighting to create the right atmosphere. The plot followed the traditional storyline. Two sisters (Freya Poole and Holly Lucas) are invited to the ball. They were mean and horrid to the Ashgirl - a convincing performance from Caz Harrold. She was also invited to the ball, but had no gown to wear, and monsters slithered their way into her heart and mind, in the shape of the seven deadly sins.
This was an unusual twist and gave choreographer Anna Roberts the opportunity to create some skilful movement and sound ensemble work, creating the mysterious, magical forest. Nell Windsor was a splendid Princess Zehra, with Tom Serruya playing Prince Amir.
Of course, the Ashgirl did go to the ball, aided by the fairy in the mirror, Abi Preston. The prince fell in love with her but as midnight approached the Ashgirl needed to return home, leaving her slipper behind. The prince searched his land to find his true love, but in this version the two sisters were prepared to cut off their toes or heel in order to make their feet fit the slipper... quite gruesome, but all was eventually resolved.
This was an intriguing tale, chilling and immersive performed by a talented able cast and well worth risking the somewhat hazardous journey to watch. Shining Lights should be congratulated on celebrating their 10th year of productions.
ROBIN STRAPP Newbury Weekly News