What Are Dreams?

Insightful Journey Into The Human Mind

       Slightly psychedelic while at the same time gripping and imaginative, Maniac is an insightful journey into multiple universes inside the human mind. With its dreamlike landscapes and impressive alternative realities, the series gives you something to think about while at the same time leaves a mark with its artistry.

    Owen and Annie meet during a trial phase of a revolutionary drug designed to eliminate depression and suffering from the entire human experience. The testing consists of 3 phases. The first one confronts the subjects with their most painful trauma. The second one exposes them to dreamlike realities, loosely based on their own lives. In the third stage, a powerful emotional transformation allows them to leave their suffering behind and move on. The plan sounds straightforward, but soon, unexpected complications appear, threatening the safety of the patients.

   The idea brings to mind similar concepts from Inception or The Eternal Sunshine of the Spotless Mind. What are dreams and the realities we experience in them? Identifying them with something meaningful adds value to nearly 35% of our existence spent on sleeping. The characters find relief in their dreaming minds. When they, however, dismiss those experiences as unreal or trivial, their emotional pain comes back.

        The production also shows that one can be misdiagnosed with mental illness, carrying a heavy burden of alienation. Overconfidence in labelling patients with psychiatric conditions is downgrading and unjustified as we still have limited knowledge of the complexity of the human brain.

    

    In Maniac, visually suggestive worlds transform into exciting landscapes. The unfolding scenarios lead us in unpredictable directions. The title suggests drastic, heavy content, which is inaccurate for this intelligent and visionary production. Aside from the impressive leading characters played by Emma Stone (LaLaLand) and Jonah Hill (The Woolf of Wall Street), I was stunned by the performance of Sonoya Mizen in the role of Dr Fujita - the charismatic and formidable force pushing the experiment towards completion.

    

Agnes Prygiel, London 27.01.2022

Back to the Future Nostalgia for a New Generation of Fans

Put Your Mind To It!

    Since its premiere in 1985, "Back to the Future" has become a cinematic classic. The story of time travel, science and love, with Michael J. Fox as Marty McFly and Christopher Lloyd as the charismatic Doc, moved the hearts and inspired audiences worldwide. It couldn't have been less spectacular of a time machine than one in a DeLorean. 

    I was excited to see the musical based on the film in Adelphi Theatre in Covent Garden just before Christmas. Expecting to hear a couple of songs from the movie and view a performance in front of a fancy car, I was amazed to realise it was so much more than that! I was blown away by stunning special effects, top quality stage design and props made with attention to the most significant detail!

    It is an incredible challenge to recreate a cinematic experience in a theatre. Yet, as my art teacher would always say, limitations force one to think outside of a box and trigger the most spectacular work. The technology used in the show comes from railway engineering, where train turntables alter the locomotive's direction by turning the platform on which it is standing. A circular turntable at the centre of the stage allowed sets and the iconic car to be brought in and removed quickly. Complicated constructions, buildings and vehicles appeared and disappeared in split seconds. 

    The final scene redefined human perception: DeLorean lifted in the air with passengers inside and turned upside down in front of our eyes, unsupported by any hydraulic systems or lifts. It was magic!

    The acting was marvellous, with an exceptional performances from Hugh Coles as George McFly, Roger Bart as Doc and Cedric Neal as Mayor. The musical's morale, "You can do it if you put your mind to it", is uplifting. Everything is possible. Every significant achievement starts with a vision.

    I was impressed with the detail of Emmet Brown's workshop. With his tools, half-finished projects, scientific curiosities, vintage armchairs and dimmed lights, it was an atmospheric cross between a bachelor's shed and a secret laboratory. Once turned around on the stage, it would reveal the front of Lorraine McFly's house. It was astounding, as if looking at a coat with a colourful liner you can wear inside out and marvel at its multiple functions.

    The only downfall was the score. The songs that originally appeared in the movie were recreated with perfection. However, large sequences were added to the show, merging “High School Musical” and “Back to the Future” into one play. That idea did not appeal to me.

    Unforgettable illusionistic effects were designed by Chris Fisher - a professional magician known for his work on Harry Potter and the Cursed Child. I thought such tricks were impossible in front of a live audience. Yet, I was there in Adelphi Theatre in person, looking at everything with my own eyes,  blown away by the revolutionary scale of the project and the mystery of the scenes.

    I would highly recommend the show to everyone, especially families. It is an energetic attempt to bring back a cinematic classic we all know and have a personal connection with. It is never easy to recreate the same emotions and the atmosphere of the original movie. Let the story of an enthusiastic scientist, energetic teenager, time travel, and the stunning DeLorean enchant us again, this time on stage.

Agnes Prygiel / London / 15.01.2022

Christmas Special Reinvented

The Nutcracker by Matthew Bourne

It is hard to believe how quickly time flies! A couple of weeks ago, I celebrated the premiere of Matthew Bourne's new play "The Midnight Bell" during the night out with Ken Loach and my friends. Now I am counting the days to Christmas, delighting in another production by the same director.

For theatre and ballet enthusiasts, "The Nutcracker" is like "Kevin Home Alone" for film lovers. It is a Christmas must-see! Experiencing the play for the first time in Bourne's interpretation last Sunday in the Sadler's Wells Theatre teleported me into the world of magic. I was walking the streets of London feeling light-hearted as if I had entered a new dimension.

This hugely celebrated play has been reinvented for us using modern technology such as 3D mapping, creating magnificent effects on stage. Lengthy ballet sequences have been removed from it altogether. The baseline of the story and the music by Pyotr Illyich Tchaikovsky stayed the same.  

In the beginning, we see a sinister orphanage in a distorted perspective. Monochromatic costumes and collapsing angles of the set bring op art and Salvador Dali's paintings to mind. Everything is for a show in this grim institution where discipline rules over love. Kids perform daily activities in front of wealthy benefactors and, in return, are given Christmas presents, amongst which there is an unusual nutcracker in a shape of a boy puppet. 

When the kids fall asleep, one of the girls dreams up an alternative universe with all the characters from her daily life in new roles. In her fantasy, the nutcracker comes to life as a Frankenstein oddity. He comes across as frightening at first but soon wins the orphans' trust by helping them escape from the oppressive establishment, leading them into the beautiful world of imagination. 

The colours and the set change, contrasting with the previous sombre background. Soft light and feathery shapes dominate the scene. The actors appear in new costumes: fluffy hats, floating skirts and white suits. The second act moves us more into the Alice-in-the-Wonderland-like reality, with bonbon decorations, unusual new characters and even more flamboyant outfits designed by Anthony Ward. To the young girl’s despair, the Nutcracker turns into a handsome young man but regrettably falls in love with an overconfident and cheeky Princess Sugar. Will the unimposing orphan be able to win him back?

I can only use one word to describe the show: impressive. Like in all Matthew Bourne's plays, dance, acting, set design, costumes, and sound come together, forming a fantastic theatrical experience. It is like nothing you have ever seen before. 

Matthew Bourne's interpretation of "The Nutcracker", co-written with Martin Duncan, had its' first premiere in 1992. From that moment on, it has been inspiring new audiences worldwide. The director mentions essential changes introduced this season. If you have seen the play before, I am sure it will surprise and leave you speechless, moving your heart and imagination again.

Agnes Prygiel, 14/12/2021 London

October in Stone Space Gallery

Geographies of Print 

Victoria Arney - collection of graphics

After sharing my review from Rob Birch's preview in Leytonstone's Stone Space Gallery a couple of months ago, I returned to this elegant window-based exhibition room in East London every month for a new show.

October in Stone Space was dedicated to minimalistic black and white prints by an art collective Geographies of Print, including Victoria Ahrens, Carol Wyss and Vicky Arney. It was a pleasure to meet these highly accomplished ladies during the preview and chat about their process over a glass of wine. Working with traditional printmaking techniques, they create far from conventional pieces. 

The exhibition's centrepiece was a nostalgic graphic by Victoria Arney depicting a sonographic recording of birdsongs. It was produced by a scientific apparatus and turned into an appealing collection of prints pinned up on the wall. 

Arney's work reminded me of Paul Klee, and the phenomenon of synesthesia, where one sense is perceived through another. Artists diagnosed with this neurological condition were known for creating particularly recognisable paintings, illustrating music in a form of abstract configurations.

Carol Wyss' installation and a paper mobile

Carol Wyss built a mini installation in the gallery corner out of black and white paper cylinders resembling a burned down forest or a fallen down city. Her second piece was a mobile paper cutout in a shape of a dandelion. When you looked closer, you could see a collage of human bones. 

Carol's works reflect the topics of death and rebirth in art and one's personal life. The pieces have some hidden energy and radiate strength and perseverance. Presented immaculately, they make a lasting impression. 

Prints by Vicky Ahrens

In her work, Vicky Ahrens drives her energy and inspiration from geology. At the exhibition, the artist presented graphics of caves and shorelines made in the original, distant and hard to get to locations around the world with the use of materials and techniques available on the spot. During a short conversation, she told me about her fascination with volcanos, caves and the meaning of those in our language and symbols. Ahrens also mentioned how the Geographies of Print collective came to life, inspiring me with her enthusiasm and dedication. 

The exhibition "Without Horizons, Without Shore" struck me as personal and very well presented. As always, the preview in Stone Space was delightful and captivating.

Agnes Prygiel, London 22.12.2021

The Midnight Bell in Sadler's Wells

Longing for Love

My connection with Matthew Bourne's plays is personal. Being a friend of one of the cast members puts me in the position of a faithful follower who always watches all the shows, sometimes more than once. Having seen "Cinderella", "Romeo & Juliet", "Red Shoes" and the "The Midnight Bell", allows me to analyse the spectrum of sir Matthew Bourne's work.

This highly accomplished choreographer and director is always fascinated with things happening in the shadows of glamorous lifestyles, at the edge of a broad scope of vision. In his reinterpretation of a children's classic, Cinderella is a young girl growing up with her step-mother and step-brothers in a big house during the II World War, being molested by one of her older siblings. In his take on Shakespeare's iconic play, Bourne reimagines Juliet as a vulnerable young adult, living in a boarding school, experiencing sexual abuse from one of the guards, unable to break free. 

There is always a gay romance somewhere in the background, a subtle emotion of two men unable to express their feelings openly. 

Bourne's plays remind me of vintage photographs that somehow came to life. Fashion, gestures and movements carry the feeling of nostalgia, influenced by silent movies and musicals. 

There is a contrast between things happening during the day and the night. Darkness represents hidden desires, suppressed impulses, creating perfect hiding for those looking for tenderness. The director's visionary pieces are ultimately about love, our longing for a deep, passionate line of understanding with another human being.

At the centre of "The Midnight Bell" is a London pub and its' unusual clientele. Inspired by Patrick Hamilton's novels, the play focuses on five unusual affairs. 

The first is the relationship between the pub's manager and a local prostitute. Fascinated with the beautiful seductress, the young man falls for a woman who makes financial gain from love. How will he ever know if her feelings are genuine?

The second is a turbulent fantasy in the mind of an eccentric poet with mental health issues, obsessed with a famous socialite.

A married woman is dating a gigolo. Two gay men, one of them being a policeman, explore homosexuality. An older gentleman proposes to a waitress.

All the plots revolve around the fleeting desire to be fully understood and completed in a relationship. Following the threads simultaneously, we see them developing in multiple directions. 

Having read the reviews describing the play as dark and intoxicating, I somewhat disagree with those labels. There is an element of optimism and humour in "The Midnight Bell". Not all the characters get what they wish for, but in a way, neither does anyone in the real life. For me, Bourne's performances are always about hope for finding true love and fulfilment.          

I was delighted to visit the Sadler's Wells Theatre in London and see the play with my friend and an accomplished architect Peter Fitzpatrick, film director Ken Loach, his lovely wife Lesley and two daughters. After the show, we did not get to speak to Matthew Bourne in person, but we were thrilled to meet the cast. It was an exceptional evening for my friends and me.

Agnes Prygiel, 10.10.2021