Welcome to the Theatrical Niche Ltd website.
We were more than thrilled to announce some fantastic news in Spring 2014:
Arts Council England chose to support our "Blood Wedding" tour of theatres and schools. Since then, we have also received support with our multidisciplinary version of "Lysistrata" by Aristophanes, our Commedia Dell'Arte based adaptation of "Tartuffe", our Spring tour "The Good Person of Szechwan" and most recently our modern re-working of "Dr. Faustus"was also supported.
Autumn 2016 saw us showcasing a new adaptation of Marlowe's famous pride play, using UV Visuals, Puppetry and Physical Theatre.
We provided free puppetry workshops alongside shows - and are doing so again in the next tour when we bring Steven Berkoff's weird & wonderful adaptation of Kafka's "Metamorphosis" to town. Please check with your local venue to get booked in, and take advantage of this wonderful opportunity to learn from industry experts; we can't wait to meet you.
It's hard to express how wonderful it is to receive backing for such innovative new projects.
Contact us on firstname.lastname@example.org for further information.
Most recent REVIEW snippets for "Dr. Faustus":
FEMALE ARTS - **** "Immediately as I walked into the lovely Arts Theatre, I got a taste of the circus.. I knew I was in for a treat. What I thought was really clever about this production was the clash of traditional and modern thematic devices. Amongst the long-established viusal element of the circus was glow in the dark paint nd modern day clothing.. this was mirrored in both the music and the text. The juxtaposition of Julius Fucik's music and the casual appearnace of Alt-JJ just before the interval. Marlowe's text intertwined brilliantly with director, Venetia Twigg's Adaptation with modern day language, which served as a brilliant device to merge the two realities.
Charlotte Watson... is a lovely, daring actress who had me captivated from the start. She brought a wonderful cocktail of strength and vulnerability to the role and commanded the stage with intensity and truth.
Matthew Springett played Mephistophilis with an impressive balance between dark and light... I know this cast engaged in some of Grotowski's techniques and I could see them at work...
The star of the show just so happened to be the embodiment of Hell in the form of a 6ft lizard puppet...
This production brought a new, fresh insight into the play which I thoroughly enjoyed.
Theatrical Niche's recontextualised version was strong, dynamic and a true pleasure to watch. A brave re-working of a classically sinful production.." - Molly Miller
LIVE THEATRE UK -
"Theatrical Niche in association with Arts Council England are touring a very novel treatment of Christopher Marlowe's classic and we caught up with it just around the corner at The Arts Theatre. The small space above The Arts is perfect for this intimate exploration of good and evil... The choice to talk to the audience directly is a clever one, which draws the viewer in from the beginning. It does not take long for the four actors to illustrate the means by which they will deconstruct Marlowe's play; spontaneous thought, circus tricks, interpretive moves and gymnastics... this feels like a direct conversation with Faustus. This is a playful but deadly game of dealing with the devil, and testing who is in control.
.. The unvarnished nature of the text, sprouting out of the actors mouths and expressing itself in every physical way, propelled the discourse.
.. Venetia Twigg and her team have endeavoured to illuminate Marlowe's play and present it in an energetic, innovative way for contemporary, perhaps younger, audiences. It is never a waste of time to investigate the themes of good and evil in theatrical ways. These talented players should be congratulated for their energy and innovation."
LONDON THEATRE1 -
"..a female Faustus gave another dimension to her relationship with Mephistopheles..Movement Director Sheri Sadd's choreography here highlights the perverse nature of their relationship - it resembled a controlling scene of domestic violence in which one partner is hopelessly ansnared to the other... Mephistopheles with his manic laughter and twisting limbs was highly effective and impressive.
Twigg's reimagining of Dr. Fautus uses puppets to depict the creatures from hell, increasing the nightmarish, surreal quality of the performance. But what was perhaps most effective in unnverving the audience was the use of UV lights to illuminate secretly painted faces of the devils and demons on stage. As the play unfolded, Faustus' face and body became covered with secret ink, showing her descent into darkness.
.. while this adaptation of Dr Faustus does not have the benefit of a celebrity, nor the panache of the RSC, it's a brave version by a company unafraid to try new things".
"The production itself is one of the best versions – in English or Spanish –
that I have ever seen."
- What's Peen Seen on BLOOD WEDDING
- Bargain Theatre on BLOOD WEDDING
"***** Thoroughly enjoyable providing many moments of
humour intermixed with moments of heartbreak. Highly recommended."
- The Good Review on LAST OF THE RED HOT LOVERS
" **** Brilliant...Not to be missed"
- LondonFestivalFringe, Soho on DECENCY/DISCRETION
"Original, thought-provoking questions on human nature... hilarious performance"
- Honest Theatre, London on DECENCY/DISCRETION