https://offwestend.com/listing/fell-3/
SYNOPSIS
‘fell’ is the story of an unlikely friendship forged in the shadow of the Cumbrian fells, a relationship that unfolds against the stunning backdrop of the Lakes and also has to weather its unpredictability and danger. Two young lads on the cusp of adulthood navigate the landscape, life, and each other as they struggle to understand, and survive, a world that doesn’t seem to want them.
It’s a two-hander, it’s 75min packed with drama, comedy and weather, it’s about growing up and all that that involves (everything) and it’s moving and sweet and it’s brilliantly acted. We hope it will leave you smiling, and we hope it stays with you.
PRODUCTION TEAM
Author(s): Chris Salt
Producer(s): Edgeways Productions
Composer(s): Elvis Costello
Director: Janys Chambers
Key Performers: Tom Claxton Ned Coop
Elvis underscores the play “Fell”
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sweetest punch
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Elvis underscores the play “Fell”
Last edited by sweetest punch on Wed Oct 11, 2023 2:01 pm, edited 1 time in total.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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sweetest punch
- Posts: 5986
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: Elvis in production team of the play “Fell”
https://longlandspark.co.uk/DB/events-2/fell
Fell
A laugh-out-loud, heart warming and heart-breaking comedy drama about the forging of an unlikely friendship in the shadows of the high fell; an ode to adolescence, dead dogs and dead dads under-scored by Elvis Costello.
Fell
A laugh-out-loud, heart warming and heart-breaking comedy drama about the forging of an unlikely friendship in the shadows of the high fell; an ode to adolescence, dead dogs and dead dads under-scored by Elvis Costello.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Man out of Time
- Posts: 1840
- Joined: Fri Jul 06, 2007 8:15 am
- Location: just off the coast of Europe
- Contact:
Re: Elvis underscores the play “Fell”
Poster for the performance on Friday 20 October.
MOOT
- 2023-10-20 Grizebeck poster
- FELL_POSTER_A4_TINTED_small_copy red.jpg (194.46 KiB) Viewed 3169 times
Last edited by Man out of Time on Wed Oct 11, 2023 2:55 pm, edited 1 time in total.
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Man out of Time
- Posts: 1840
- Joined: Fri Jul 06, 2007 8:15 am
- Location: just off the coast of Europe
- Contact:
Re: Elvis underscores the play “Fell”
A review of a recent run at the Baron's Court Theatre, in West London is here:
London Pub Theatres
An interview with the Playwright - Chris Salt is here:
Interview
Neither mention Elvis, or indeed any kind of "score", so Elvis' involvement may be limited. Also worth noting that the play was originally produced and performed in 2020, before falling victim of the pandemic. It has apparently taken three years to get it back out on stage and on tour again.
There are two performances at the Arcola Theatre, in Dalston, East London on Sunday 29 October if anyone wants to check it out there'..
Arcola Theatre
MOOT
London Pub Theatres
An interview with the Playwright - Chris Salt is here:
Interview
Neither mention Elvis, or indeed any kind of "score", so Elvis' involvement may be limited. Also worth noting that the play was originally produced and performed in 2020, before falling victim of the pandemic. It has apparently taken three years to get it back out on stage and on tour again.
There are two performances at the Arcola Theatre, in Dalston, East London on Sunday 29 October if anyone wants to check it out there'..
Arcola Theatre
MOOT
Re: Elvis underscores the play “Fell”
Here's another review:
https://ayoungishperspective.co.uk/2023/10/09/review-fell/
Chris Salt’s new play Fell, with Edgeways Productions, presents the story of a Cumbrian schoolboy, outsider and Elvis Costello fan Lyle, who finds himself teaming up with Jake, a loner, two years his senior, who spends his life in the rough wilderness of the Lake District. Throughout this 80-minute play, the two develop a bond which, while mutually beneficial, is starkly coloured with their personal traumas. This new relationship, and the harshness of the surrounding landscape, forces them to confront their own personal inner darkness finding their way towards a redemptive future.
Although this may sound at first a little heavy, the cast bounces nicely off each other and deftly finds the elements of humour within the play. Ned Cooper’s Lyle is engaging and sardonic but awkward, seeming almost not to know himself, while Tom Claxton’s Jake begins the production with a gruff exterior which peels away to a sensitive, if lost, young man. Lost is a good word. Both of these characters are from the beginning lost to their traumas – while Lyle literally is lost in the Lake District – attempting as best they can to find their way through a world which is harsh on the mountainside as well as in the town below.
Lost too, unfortunately, was a lot of meaning and understanding in this production. While there are a lot of enjoyable elements to it, a fair amount of character development was yet to be fully realised. The reasoning behind certain actions seemed not to make sense, certain choices throughout the production felt as if they came from the ether and were not character driven but existed solely to keep the play from ending. The direction, from Janys Chambers, emphasised male silence a little too earnestly which gave the feeling that the ball was continually being dropped.
Designer Jane Linz Roberts’ set conjured up the brutal and the beautiful of this landscape and the succession of boxes and bric-a-brac lent into the scavenging nature of survival. It was stylistically satisfying and enjoyable to watch Jake and Lyle climbing using these boxes in lieu of the suggested mountain – that this was constructed as part of the action of the play allowed the audience to lean into the production and avoided the protracted transitions which peppered the rest of the piece. These transitions, which for reasons not entirely knowable were performed solely by Claxton, all received an accompanying Elvis Costello song which while good for a seated boogie (I am a fan), tended not to match the energy of the scenes surrounding it and therefore felt a little, or a lot, incongruous.
Notwithstanding these weaker elements of the production, the strengths lie mainly in the acting – both Cooper and Claxton were enjoyable to watch and the relationship between the pair, especially in the early parts of the play, were very believable. I would love to see a future production of this piece streamlining its more drawn-out elements and with character choices and motivations more clearly defined, allowing more space for this story to shine.
https://ayoungishperspective.co.uk/2023/10/09/review-fell/
Chris Salt’s new play Fell, with Edgeways Productions, presents the story of a Cumbrian schoolboy, outsider and Elvis Costello fan Lyle, who finds himself teaming up with Jake, a loner, two years his senior, who spends his life in the rough wilderness of the Lake District. Throughout this 80-minute play, the two develop a bond which, while mutually beneficial, is starkly coloured with their personal traumas. This new relationship, and the harshness of the surrounding landscape, forces them to confront their own personal inner darkness finding their way towards a redemptive future.
Although this may sound at first a little heavy, the cast bounces nicely off each other and deftly finds the elements of humour within the play. Ned Cooper’s Lyle is engaging and sardonic but awkward, seeming almost not to know himself, while Tom Claxton’s Jake begins the production with a gruff exterior which peels away to a sensitive, if lost, young man. Lost is a good word. Both of these characters are from the beginning lost to their traumas – while Lyle literally is lost in the Lake District – attempting as best they can to find their way through a world which is harsh on the mountainside as well as in the town below.
Lost too, unfortunately, was a lot of meaning and understanding in this production. While there are a lot of enjoyable elements to it, a fair amount of character development was yet to be fully realised. The reasoning behind certain actions seemed not to make sense, certain choices throughout the production felt as if they came from the ether and were not character driven but existed solely to keep the play from ending. The direction, from Janys Chambers, emphasised male silence a little too earnestly which gave the feeling that the ball was continually being dropped.
Designer Jane Linz Roberts’ set conjured up the brutal and the beautiful of this landscape and the succession of boxes and bric-a-brac lent into the scavenging nature of survival. It was stylistically satisfying and enjoyable to watch Jake and Lyle climbing using these boxes in lieu of the suggested mountain – that this was constructed as part of the action of the play allowed the audience to lean into the production and avoided the protracted transitions which peppered the rest of the piece. These transitions, which for reasons not entirely knowable were performed solely by Claxton, all received an accompanying Elvis Costello song which while good for a seated boogie (I am a fan), tended not to match the energy of the scenes surrounding it and therefore felt a little, or a lot, incongruous.
Notwithstanding these weaker elements of the production, the strengths lie mainly in the acting – both Cooper and Claxton were enjoyable to watch and the relationship between the pair, especially in the early parts of the play, were very believable. I would love to see a future production of this piece streamlining its more drawn-out elements and with character choices and motivations more clearly defined, allowing more space for this story to shine.