• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Tickets

Burkas and Bacon Butties at VAULT Festival

February 19, 2018 by Clare Richards Leave a Comment

Review of: Burkas and Bacon Butties

Reviewed by:
Rating:
3
On February 19, 2018
Last modified:February 19, 2018

Summary:

A piece with a lot of potential, but suffering from some questionable conceptual decisions.

More Details

An ‘East meets Wigan’ comedy, Burkas and Bacon Butties explores the struggle of an Egyptian father Ashraf trying to cope with his now grown-up half English daughter Shazia whilst juggling work, a new wife and pressure from the Muslim community to do the right thing. A really strong script by Shamia Chalabi and Sarah Henley followed up with superb comic timing means that the show is, simply put, hilarious. I don’t think more than two minutes went by without a laugh, and I don’t mean a little titter – I’m talking about at least 99% of the audience having a proper belly-based chuckle.

Tom Rodgers has created a beautiful cosy atmosphere with chintzy armchairs, a reading lamp and a large fern, even going so far as to create the screen between driver and passengers out of white net curtains. Building the world of one man’s taxi cab out of living room objects instils a strong sense of home, and makes it far more traumatic when the taxi is vandalized during a racist attack on Ashraf. The most impressive touch to the taxi decorations are colour changing fairy lights, adorning the edge of the driver’s seat and turned on for the Christmas portion of the play.

Unfortunately, this world of the taxi cab is shattered by poorly implemented sound effects. The team attempts to use foley to create sounds like doors opening and closing and engines starting, but only succeeding for about a third of the time – the result being very jarring from an audience perspective, drawing spectators out of the narrative to question the infrequent and unexpected bangs and crashes.

Most of the secondary characters are also sat on stage for the majority of the show without anything really to do. It seems as if their primary use is to be involved in phone calls between themselves and Ashraf – bringing the other characters in the story to life in the small world of a Wigan taxi. Yet even though the actors are sat there they’re often not used them to participate in the other half of the call; a missed opportunity to develop other sections of the narrative. Occasionally they spring alive in an ensemble manner to show the passing of time, dressing the set with tinsel at Christmas, flowers for spring and paper cranes for the daughters wedding at the end of the play etc. While academically a nice idea, the transitions tended towards the lacklustre – one tends to wonder whether this might stem from the frustration the actors must have been feeling through lack of occupation, and whether there was any particular point for them to be sat there for the majority of the show.This play has a lot of potential but needs some bold choices to be made and followed through for some of the concepts to be successful.

Author:

Filed Under: Featured, Review Tagged With: Burkas and Bacon Butties, Vault Festival

Join the discussion Cancel reply

INTERVIEW / Silent Faces on Godot is a Woman’s first UK Tour

Silent Faces return to the stage with their signature style of playful and political physical theatre, interrogating permission, patriarchy, and [Read More]

INTERVIEW / Max Rinehart on The Retreat

We spoke to actor Max Rinehart about his experience working on the European premiere of Jason Sherman’s The Retreat at [Read More]

NEWS / Frozen Light celebrate 10 years with Sensory Symposium

The UK’s premiere company for adults with profound and multiple learning disabilities invites industry professionals of all genres and sensory [Read More]

INTERVIEW / Jenny Foulds on Life Learnings of a Nonsensical Human

Performer Jenny Foulds tells us about her forthcoming one woman show Life Learnings of a Nonsensical Human, coming to the [Read More]

INTERVIEW / Monique Touko on We Need New Names

We Need New Names is a defiant and exuberant coming-of-age story follows a young girl from the playgrounds of Zimbabwe [Read More]

Top Posts & Pages

  • Max Rinehart on The Retreat
  • The Cherry Orchard- a translation for modern times and a modern audience? The Young Vic
  • Does Small to Mid Scale Theatre Touring Actually Work?
  • The Adrian Pagan Award is Back - Could You Win It?
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Monique Touko on We Need New Names
  • Gavin Maxwell and William Townsend talk Anthropocene
  • Unleash The Llama talks Five Years With The White Man
  • Tim Edge talks Under the Black Rock
  • Crowdfunding In Theatre - An Overview
  • Clare Richards
    Contributor

  • February 19th, 2018
  • comment iconNo Comments
  • Facebook1TweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2023 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!