HARBEN LETS HL Fashion Show Preview - The Founder

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14 E X T R A Shaun Beedle, director of this year’s fashion show, highlights his motive behind his pitch as ‘wanting to segregate Royal Holloway’s uniformed fashion, and highlight the broad range of fashion identities at our finger tips’. What better way to emphasize this than to move the audience through a great spectrum of dress, concentrating on the distinct styles and fashions of London. Using the great pit-stops of the underground tube stops as genre titles, Shaun implies the audience will be ‘passengers to a showcase of visual delights’, and therefore celebrating one of the most fashionable cities in the world. The show will focus on the following districts which thereby construct their theme. The section labelled Camden is displaying the great range of punk and Goth available at Camden’s famous market and quirky shops. Westminster promotes business attire, such as tailored suits and the like. Stratford presents sports wear, as it is the primary location for the 2012 Olympic Games. Hampstead Heath is representing somewhat toff-like attire, if that is a credible description, with tweeds, corduroy and other pseudo-country-life looks. Leicester Square is dazzling with red carpet and evening wear, as a top spot for premiers, this seems suitable. Blackfriars incorporates the couture genre, as this is the tube stop closest to the Tate Modern, thus swimming with modernity and the new structural ways of design and dress. Tottenham Court Road and Soho area displays the wide variety of underwear which is both open to the masses to purchase, and available to observe in ‘shop’ windows. Lastly, Oxford Circus completes the route by showcasing the many high street brands which dress its own walls. Chatting to Shaun, it is hard to understand his need to use boxed fashion genres and to assign them to different districts of London, as if to confine them to thematic pigeon-holes. When I asked Shaun this, he explained that it was more to represent the genres of fashion rather than the people wearing them. He continued to establish that he liked the way the underground system enables us to dip away from a certain cloud of style and rise up into a separate feel of London. In this way he described the very campus of Royal Holloway. Shaun suggested that through the many cliques of populace which our campus harbours, there are many weaving functions which tie everyone together, and prevent the harsh division of groups. This is a much more anthropological way of describing fashion. However, as The Founder | Thursday 11 March 2010 Mind the Gap: RHUL’s 2010 Fashion Show Alexandra Kinman (words) Arts Editor Tom Shore (photos) Pictures Editor Coco Chanel said ‘Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.’ Important things to remember: - Tickets are on sale in the Box Office now. - Show dates are 13th, 15th, and 16th of March E X T R A Extra extra@thefounder.co.uk All Images: Photography: Tom Shore. Styling: Shaun Beedle. Makeup: Jenna Ryan. Want to contribute to any section of Extra? Arts The Founder is always looking for new contributors Why not drop Camron a line at:
The Founder | Thursday 11 March 2010 E X T R A Review: Tom Stoppard and Andre Previn’s ‘Every Good Boy Deserves Favour’ Max Richmond It took me a mere one thousand five hundred and sixty seven strutted strides to arrive at the National Theatre’s front door from mine in Egham. I went to watch without prior knowledge ‘a play for actors and orchestra by Tom Stoppard and Andre Previn’; Every Good Boy Deserves Favour. The production dedicates itself to one Victor Fainburg and Vladmir Bukosky, who, expressing disdain for outcomes of Soviet suppression; found themselves confined within a psychiatric ward; a psykushka. They were claimed to be insane whereas in fact they were detained as political dissidents of the Soviet Union. Later each emerged as ones of the first to unearth the false imprisonments to the public. Here Stoppard saw the story that he and Previn had sought since 1974, to be inno- vatively armed with the Southbank Sinfonia. On entering The Olivier Theatre, the main auditorium, it became apparent as to how the tale would be construed. The stage was scored with sheet music stands and seats in orchestral organisation. Pitched in front were two beds; hospital beds, indicative of a ward, or a cell. The musicians mantled piece by piece, each taking their own seat for a performance of an hour and a half. They twined to fine tune for the spectators jostling crowdedly, then on he came clinically clad; Alexander Ivanov, played by Julian Bleach. He lay on his bed asleep in his ward for five minutes or so, he woke and he rose. Next he commenced his triangular tintinnabulations; he played the triangle, and henceforth followed the orchestra from his mind. What struck me as impressive was the way Mr. Bleach accomplished Review: William Shakespeare’s ‘A Midsummer Night’s Dream’ at the Rose Theatre, Kingston. Liam Elvish mystical backdrop of the forest. The Sir Peter Hall’s interpretation of Shakespeare’s 1595 masterpiece hails an impressive cast; despite the mass of publicity surrounding Judi Dench’s role as Titania, we are treated to a production that is rich in superbly crafted performances from the entire team of actors. Shifting the setting from classical Athens to the Bard’s own Elizabethan England, Hall’s vision of the magic of the fairy world is vividly brought to life through some colourful staging, enhanced by an inspired music score. Following a polished introductory scene at the Duke’s court which neatly sets up the theme of marriage prevalent throughout the play, there are strong dramatic portrayals all round as we enter the interplay between Oberon (Charles Edwards) and Puck (Reece Ritchie) is highly entertaining, the former’s subtle offbeat mannerisms being a true highlight as his servant devotedly rushes back and forth in the forest, completing his chores with childlike quirkiness. Oberon’s vindictive rage towards the Queen of the Fairies serves up plenty of amusement, spitting out words like “vile” with true bitterness. If Dench’s relationship with Edwards is lacking in chemistry a little, her “love” for Oliver Chris’ Bottom after his transformation into an ass is a real joy to behold. Indeed, as the pair pour lyrically over one another, Titania’s caressing of his ears and heartfelt attempts to mimic his vocalizations are wonderfully hysterical moments. One cannot help but impeccable harmony between his blazing gesticulations and the (not so) intrinsic suites. Not only did all his Subito bounds meet punctually each beat over stage, but the woodwind, brass, bass and string seemed to track his thought without lagging astray. Through my almost amateur eyes I’m sure I saw an actor of the utmost dramatic dexterity and integrity. Julian Bleach caught my constant attention throughout the whole of the play… his hands held crescendo, his feet fostered consonance. Something else in particular that shone out to me was the refreshing clarity of plot. This was largely due to actor Adrian Schiller, a character who emerged as the leading source of exposition through Every Good Boy Deserves Favour. Mr. Schiller played an Alexander Ivanov… Alexander Ivanov? There was an Alexander Ivanov times two… coincidence de- to gaze in awe at Dench’s physical and verbal competency as a comedy actress, as one reflects on the sheer absurdity of the situation. This brings us to the Mechanicals. The accuracy of the casting here is, once again, something which is greatly appreciated. The contrasting shapes and statures of Quince’s would-be actors together with prominent usage of the Warwickshire dialect are two aspects which stand out in particular to superb comic effect. The “play within a play” at the story’s conclusion is one of the best versions ever presented and the players succeed in their exaggerated physicality’s without resorting to over-the-top silliness. The relationship between Lysander and Hermia is by far the weakest termined the cell. This Mr. Ivanov served as an example of how Soviet iron of the time deemed dissidents as lunatics. He could leave at will on the premise that he admits his supposed lunacy; Ivanov solemnly refuses disgusted at the policy and the treatment of his comrades. The comical contrast between the genuine derangement of Alexander, and the fabricated instability of Ivanov portrays tyranny’s shocking ability at distorting reality. The insanity of it all was further affirmed by the violin-playing doctor, who hopped between his role as the doc and a member of the orchestra; more meticulous, may I add, as a musician. Our participation in an orchestrated society seemed to be a message conveyed, as well as posing queries as to whether inflexibility ultimately pays. An itchy-footed critic, or discerning he may say, may say; a conclusion based on a coincidence aspect of the piece. Thankfully we are spared the overt sentimentality between the lovers which has marred the impact of so many other productions. The complication surrounding the two couples as a result of Puck’s mischief is staged with great care and precision. It is Rachael Stirling, however, who steals the show as Helena in a portrayal that is both engaging and funny; we are genuinely moved by the sheer desperation of her initial unrequited love for Demetrius and yet amused by her baffled panic following Lysander’s revelation of his affection for her. “A Midsummer Night’s Dream” is a dynamic production which is both faithful to the original text and innovative in its use of the 15 Arts of name is rather lame. To that I would impart that from the very start, right through denouement; the consistency of the insanity of the situation is what led to this commendation. Neat is a word that sprung to mind throughout, a solid unit of a play, a vastly pleasing display of total theatre. Each actor skillfully spat the salving spittle of Stoppardian wit; dry, fluid and philosophically fervent. The Southbank Sinfonia played to every ear the celestial sounds of psychosis, sounds of suppression and theatrical ambition; succeeding in its mission for artistic innovation. To conclude; I managed to sustain a single posture throughout the entire performance (I am a lank man), and I left with a stupid fat smile slapped all over my face. Elizabethan setting. Some energetic staging and dazzling scenery create an epic quality which, considering the relatively small space of The Rose is quite an achievement. Nevertheless, it is the cast alone who bring the piece to life. The beauty of Shakespeare’s language is delivered by a highly skilful team of performers, the sheer calibres of which make Hall’s production a memorable theatrical experience. ‘A Midsummer Night’s Dream’ is at the Rose Theatre, Kingstonupon-Thames until 20 March. Evening Performances 7.30pm; Weekday and Saturday Matinees 2pm. Tickets 0871 230 1552.
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