Tag Archives: The Tron

FEATURE: The Tron Ambassadors Programme Part 2

Since 2003 the Tron have enabled young people to experience a range of the career opportunities available within a fully operational theatre via the one-year Tron Ambassadors scheme. Through this scheme they foster deeper connections with the theatre itself, and the work they do both in-house and within the community, as well as an understanding of the wider theatre and creative arts industries.

Tron Ambassadors take part in regular workshops with Tron staff, external visitors and leading professionals to identify and develop transferable skills. Previous Tron Ambassadors have worked with the Tron’s production, marketing and front of house departments, theatre critics, set and costume designers and professional actors and directors. The programme also allows the Ambassadors to gain an Arts Award qualification from their full participation in the programme.

For the past four years, I have been lucky enough to work with these talented young people on the theatre criticism element of the programme. Always a joy to discover new voices and foster new talent in the field of arts criticism, I have also had the privilege of working with the most talented writers at The Reviews Hub.

Published here are the next batch of reviews of How Not to Drown, Dritan Kastrati’s perilous asylum story.

Reviewer: Helena Leite

ThickSkin’s production of How Not To Drown, the story of eleven-year-old asylum seeker Dritan Kastrati’s unaccompanied journey to the UK, pulls on the heart strings and leaves us all questioning how much we should appreciate our own lives.

Kastrati’s journey begins in 2002 within the aftermath of the Kosovan War and at such a young age is sent away by his parents to be smuggled to the UK for safety. His journey is perilous and the only things he has in order to survive are his wit and charm. Kastrati struggles to cling to his identity and feels a sense of self-loss when he is put into the British care system.

Dritan himself tells the entire story, and in a Brechtian style of switching roles suddenly, other members of the cast also play the role of Kastrati as well as the influential people in his journey. This aspect of the performance stands out, catching the attention,  leaving you curious to see the other actors’ interpretation of the eleven-year-old Dritan.

The set design is simple but affective, showing the limited amount of supplies Dritan had, and also, the fact the acting space is a raised, relatively small, wooden platform, emphasises this young boy’s isolation. The platform is also on a slight gradient, seemingly representing the mental and physical struggle Kastrati faced on his journey, the actors having to work tirelessly to keep up their energy.

How Not To Drown is more than worthy of its Scotsman Fringe First Award and is definitely to be recommended to anyone who enjoys true theatrical authenticity, and also those who are willing to learn of the trials asylum seekers must go through in order to survive.

 

Reviewer: Holly Morton

Forward, forward, forward. Or Down. Or Nothing. The mantra Dritan Kastrati repeats to himself in How Not To Drown, his intensely emotional life story.Through his play, Kastrati sheds light on the previously unseen side of foster care in the UK, and the unfathomable difficulties faced by refugees.

Kastrati himself is brilliant, laying his whole life out for the audience to step into, and punctuating every scene with his real, raw emotion. The five fantastic actors, who perfectly flick between roles throughout, manage to perform flawless choreography on a tilted, rotating stage. Words cannot encapsulate the effect How Not To Drown has on the audience, which shares an essential message on family that all deserve to see.

Reviewer: Abbie Miller

This amazing tale tells the extremely hard but true story of a young Albanian/Kosovan child named Dritan. Dritan’s father forces him to leave his home country for his own safety. This amazing young boy has only ever known war and violence now must take on a whole different type of challenge in the British foster care system. This tragic yet inspiring story is by the Thick Skin theatre company and they manage to do an amazing job telling it.

Even though not everyone can relate to this show, especially this reviewer as a sixteen-year-old Scottish girl, the message behind the show is still very clear. It teaches you to have strength, gives you perspective on your own life and even changes the way you view things.

The character Dritan is played by Kastrati himself which only makes this show even more special. This cast, although small, are an extremely strong team who all trust and rely on each other, making the show ten times better, as you can practically see their bond.

The characters in the show are not restricted by age or gender or even race, and no one actor is set to play the same character for the whole play, which shows us just how truly talented these actors are. To be able to change to a completely different character in a second is truly phenomenal.

It is impossible not to enthralled when watching this play even though there are no dramatic costumes or intricate sets, the story is the only thing needed. They way the lights are used is enough to keep you on your seats too, when Dritan is on the raft heading for England there is a red floodlight used to represent the danger he is in and when he falls into the water the red floodlight changes to a blue one, this represents the water that surrounds him as he tries to escape it.

We watch as Dritan makes the hard and gruelling journey to England and then his terrifying experience whilst trying to get registered as a British citizen, then as he suffers in the foster care system after being taken away from his brother who had been sent to England a few years before Dritan. At school, there is no respite as he is constantly bullied for not being white and not being able to speak English. Throughout the play you have the urge to stand up and tell Dritan that everything will be alright whilst also being too scared to move a muscle in fear you miss something.

How Not to Drown is a truly exceptional play that will have you leaving the theatre an emotional wreck with a new point of view on the world. This story will hopefully become known across the world so that people know they are not alone and teach people how hard life can be for different people; you should always treat people the way you want to be treated yourself – no matter what.

Reviewer: Danny Taggart

The moving story How Not to Drown is the story of the hard life of Kosovan/Albanian boy, Dritan Kastrati, who is forced by his father to seek a new beginning in a new country. The young kid who has previously grown up surrounded by war and destruction, now must face another kind of hardship in the UK foster care system. The uplifting, but traumatic show is by the theatre company Thick Skin.

While the show is hard to relate to as a 14-year-old Glaswegian teenager it is easy to see the message is very important. This play changes your outlook on life by making you think about how easy you have it. And the fact that Dritan is played by Dritan Kastrati himself, makes the whole thing even more powerful.

The show cleverly has interchanging roles, allowing you to see each one of these talented actors’ performance of Dritan. The cast seamlessly switching between roles without breaking the atmosphere. The small cast seem to have a very strong relationship which only adds to making you feel like part of the action.

Like the rotating roles, the stage also rotates giving you different perspectives of the action. Allowing you to never become bored of the one very simple-seeming set. This is not the only clever aspect of the set design with a chain that allows the actors to lean into the audience which connects you to them.

There is clever use of light too, when a character leans into the audience, a very simple white light shines on them showing their emotions or thoughts at that time. The sound and music immerse you into the show making you feel like you are that little scared young boy.

As you follow Kastrati from his journey on the boat trying to make his way to the UK, to the tough asylum seeking process and then through his horrible experience in the foster care system where he was so excluded from his normal way of life, you just want to tell him everything is going to end up fine, How Not To Drown is a phenomenal play. It will have you walking out at the end with a new perspective.

This show should be remembered and will hopefully make many people have a new outlook on the tough prospects that people on our very doorsteps go through every day of their lives.

 

Reviewer: Jack Byrne

Fringe First Award-winning How Not to Drown, manages to defy expectations and leave a lasting impact.

How Not to Drown focuses on the true story of Dritan Kastrati, writer and star of the play. It tells of how, when he was only 11 years old, his father sent him on his own to the UK from their home in Kosovo, to escape the Kosovan war.

Before the performance even begins, we are met with the stage; a makeshift raft made from planks of wood nailed together, raised up at one side to create a downward slope. Very clever, from the outset, it creates a sense of imbalance. The actors are constantly working to stay upright as they move around the stage.

From the outset we are drawn into Kastrati’s story. It is a harrowing yet uplifting tale, full of humour and heart. The fact that Kastrati himself is telling the story, makes it more real. It takes great bravery to stand in front of an audience and share intimate details of your own personal experience.

The storytelling is fast paced and, as we move from scene to scene, Kastrati and the four other actors are constantly changing characters, with each actor playing Dritan at least once. The idea that they are all Dritan symbolised how we can all relate to his story in some way or another. By the end of the performance you will be in tears, completely moved by the performance, unexpectedly deeply affected by the show, with new-found respect for Kastrati and everyone who has gone through the same thing.

The show is outstanding and definitely to be recommended. Go and see it if you get the chance.

 

Reviewer: Ros Butchart

How Not to Drown is an emotive and captivating play based around the true story of a young boy’s journey from his conflict endangered home to England. It is thought provoking and strikes the perfect balance between heartbreaking and humorous.

Throughout the play there are certain powerful themes that are emphasised, one being that the young boy, Dritan Kastrati or Tan as he is known, is unable to swim. Tan repeats a sort of mantra to himself “forward, forward or down or nothing”, and this serves as a powerful metaphor for the obstacles he faces while growing up and struggling to get to England, the struggle find a home there and then find a place that really feels like home at all. This play deals with real life issues such as the difficulties people in war effected countries face, being an immigrant in a foreign country and the overwhelming bureaucracy of the care system.

At the very beginning of the show we see Dritan being thrown into a river by his older brother and his brothers’ friends, and this is done beautifully as Dritan is tilted forward at an impossible angle of an already tilted stage when he says his mantra for the first time.

This opening is extremely effective in grasping the watcher’s attention, but more so than that, keeping it with the same enchanting intensity consistently present throughout. The ideas of repeated patterns and themes, for example Dritan’s mantra and his ability to read the true intentions of others (which proves to be a key skill that helps him on his journey) , these factors are both impressive and impactful as they really help the audience sink into the rhythm of the play.

Another impressive aspect of the show is the set and staging, with a small cast of only five the storytelling is seamless and engaging. The play is set on a raised, angled wooden surface that represented a raft, the actors ducking behind the stage and appearing again as a different character or to bring on props so smoothly it contributes to the overall dynamic of the play. The piece also incorporates a lot of physical theatre and this is executed flawlessly, the group moving as one.

This is a sharp and well executed production, and the raw emotion displayed on stage leaves you breathless. Without a doubt one of the most impactful pieces of theatre on the current theatrical scene.

Beautifully constructed, this truthful play tells a story that needs to be heard.

Images: Mihaela Bodlovic

FEATURE: Tron Ambassadors 2018

Since 2003 the Tron Theatre has enabled young people to experience a range of the career opportunities available within a modern fully-operational theatre via the one-year Tron Ambassadors scheme. Through the scheme the intention is to foster deeper connections with the Tron Theatre, and the work they do both in-house and within the community, as well as an understanding of the wider theatre and creative arts industries.

The Ambassadors take part in regular workshops with Tron staff, external visitors and leading professionals to identify and develop transferable skills.  Previous Tron Ambassadors have worked with the Tron’s production, marketing and front of house departments, theatre critics, set and costume designers and professional actors and directors.

This year, as well as the excellent opportunities and insight offered on the programme, the Tron Ambassadors will also be eligible to gain an Arts Award qualification from their full participation in the programme.

This year, I was again delighted to deliver the Theatre Criticism/Theatre Blogging workshop. As well as learning about the technical aspects of running a theatre website, we looked at the opportunities/transferrable skills that can help you pursue a career in different aspects of the arts, the pros and cons of running a theatre website and how to approach writing reviews.

As ever, the breadth of talent is truly inspiring and I am delighted to feature some of the Ambassadors’ reviews of National Theatre of Scotland and Theatre Gu Leòr’s play Scotties.

Head to the reviews section or click the link HERE to read.

REVIEW: The Snaw Queen – Tron Theatre, Glasgow

This review was originally written for The Reviews Hub.

The news that Johnny McKnight was back at the helm of the Tron panto for 2016 was met with almost universal relief. After a slight misstep last year, Scotland’s king of modern panto is back in Glasgow and The Snaw Queen marks a return to the top-class festive form that audiences have come to expect from the acclaimed Glasgow theatre.

While it may appear from the title that there’s some connection with the Hans Christian Andersen fairy tale, the reality is an eye-wateringly colourful, glitter-strewn, often incoherent romp – and it’s none the worse for that. Kristine Cagney Kringle and her toy workshop are flat-out preparing for the festive season. However, there’s a magic mirror, that if broken will plunge Weegietown into a Christmas-less eternal winter. Poor sweet Rudolph succumbs to the evil magic of the mirror and transforms into the Snaw Queen (a Marilyn Monroe look-alike in an eye-popping, diamante-strewn, flesh coloured body suit). Kristine, Elvira the Elf and Olive (the other reindeer) embark on an, at times, psychedelic journey to obtain the magic ingredients needed to reverse the spell. Throw into the mix Elvis the Elf, a giant pink bunny, a monochrome My Fair Lady-inspired number set on Glasgow’s infamous underground, an hilarious ‘disco dolly smack down’ and theatrical in-jokes about the National Theatre of Scotland’s James Plays and Broadway blockbuster Hamilton, and you may well get the impression that this isn’t your average panto – you’d be correct.

McKnight is a master of treading the fine line between zany fun for the babes and naughty humour for the grown ups and while it’s mind-bendingly confusing at times, it’s also hysterically funny. The humour never lets up and the sheer energy of the cast drives the action along at a fair lick. Traditionalists will be happy to know that the obligatory sing-along, sweetie throwing and audience harassment are all here.

It may not be the biggest pantomime in town, either in terms of size or budget, but the Tron always punches far above its weight in terms of entertainment. If its kaleidoscopic colour and surreal storytelling you’re after, all with a social conscience thrown in and belly laughs from start to end – then this will be your bag. A riot for the senses and a welcome relief from this grey old world we live in.

Runs until 7 January 2017 | Image: John Johnston

REVIEW: A Steady Rain – Tron Theatre, Glasgow

Despite the predictability of the script, Robert Jack and Andy Clark’s powerhouse performances elevate Keith Huff’s A Steady Rain above and beyond the average police drama.

Inspired by a real-life event in the story of US serial killer Jeffrey Dahmer, Denny (Clark) and Joey (Jack), two Chicago cops and life-long friends, have to deal with the fall-out, both personally and professionally from a catastrophic misjudgement while on duty.

There’s a danger that the well-worn subject matter could easily descend into cliche, and its portrayal of a certain type of masculinity, now largely unpalatable, is often predictable, but you can’t help admire the sheer volume and denseness of dialogue and the believability with which Clark and Jack deliver it. Gripping and satisfying thanks largely to the skill of two highly talented actors.

REVIEW: And The Beat Goes On – Tron Theatre, Glasgow

It would seem at first glance that a play about a pair of Sonny and Cher obsessives would be the perfect excuse for a night of high camp glitz and glamour, more sequins than substance, but Stef Smith’s new work,And The Beat Goes On proves to be a much darker and more satisfying beast.

It’s 1989, somewhere in the US, behind the closed doors of their breeze block garage, ex-pat Scots Peter (Johnny McKnight) and Lily (Julie Brown) spend their evenings recreating the entire TV back catalogue of the outrageously clad singing duo, but the arrival of new neighbour Joan (Julie Wilson Nimmo), a Molly Ringwald-esque vision in Barbie pink satin, sees Peter and Lily’s fragile existence start to disintegrate.

The explanation for this eccentric behaviour, the reasons that Peter and Lily are living a life “beyond normal” is slowly unravelled in Smith’s economical 75 minute work. The greatest strength of the piece (apart from the obvious chemistry between long-term collaborators McKnight and Brown) is the establishment of a sense of tension and unease from the very first moments and the air of mystery is maintained to the end: tiny hints are dropped into the dialogue, just when we thought it was predictable the clues which led us down one path veer us off onto another.

To say any more would reveal all, but safe to say, it plays upon the thirst for works like Gone Girl and draws upon real-life events and prompts commentary on the shelf-life of what was once news-worthy, and the world in which we live where “tragedy is tedious”.

This is an intriguing and thoroughly satisfying work, an accomplished piece of writing, briskly directed and beautifully acted (save for Julie Wilson Nimmo’s American accent, which is forgivable given the character).

Don’t be fooled by the high camp publicity posters, “a little darkness didn’t do anyone any harm”, Lily declares, indeed, in the case of And The Beat Goes On, a little darkness goes a hell of a long way to restoring your faith in new writing in Scotland.

Runs until 28th March at the Tron Theatre then touring

This review was originally written for and published by http://www.the public reviews.com at: http://www.thepublicreviews.com/and-the-beat-goes-on-tron-theatre-glasgow/