Love in the Time of Lockdown

Theatre (true-life, new writing)

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  • theSpace @ Surgeons Hall - Bevan Theatre
  • 13:25
  • Aug 14
  • 50 minutes
  • Suitability: 16+ (Guideline)
  • Country: United Kingdom - England
  • Group: SwanWing Productions
  • Warnings and additional info: Contains distressing themes, Scenes of a sexual nature, Strong language/swearing
  • Accessibility:
    Wheelchair Accessible Toilets
    May not apply to all performances. You'll find more information about accessibile performances and how to book tickets in the accessibility tab below.
  • Babes in arms policy: Babies do not require a ticket
  • Policy applies to: Children under 2 years
Venue is arranged in socially distanced groups of up to 4. If you require more than 4 tickets, please add up to 4 tickets to your basket at a time.

Description

The sell-out Brighton Fringe show that will have you laughing, crying and talking about how lockdown was for you, for your neighbour and for your friends. From harrowing to hilarious! Sex, cars and face masks! Love never stops, not even during lockdown, but it gets so much harder. These 17 characters have been lonely, alone or had not a moment of privacy. They have been brave or resigned, they’ve run away or stayed put and some had hallucinations – or did they...?

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General venue access

  • Wheelchair Accessible Toilets
  • Accessible entry: Ramp to reception area, building lift to first floor, level access to space
  • Wheelchair access type: Building Lift

  • Stairs: Information not supplied

Each venue can contain several space with different accessibly information. Visit the venue page for full venue accessibility info


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kerstin Stutterheim 30 days ago

A few thoughts about Love in the Time of Lockdown by Saskia Wesnigk-Wood at Fringe Edinburgh

What a wonderful reflection on the time we went through over the last months, the funny parts, the sad and disturbing experiences we made or knew others went through.
The episodes could stand alone, each one as an individual story. But, the quality of the writing and the concept of having a few actors who interpret different characters within such a modern dramatic form intertwines them.
The play starts with a situation in a vaccination centre. The female doctor, Gillian Fischer, gets confronted with a male patient who obviously hasn't had much contact with an actual, physically present human over a long time. Jon Terry convincingly presents a shy man dressed up as he would be asked for a job interview or prepared for a date than a doctor's visit. And the actor gives his character that way, starting stiff as he would be confronted with a possible new employer to then change into a longing and flirting person. Gillian Fischer balances very well between addressing the audience and being in the situation, interacting with her counterpart. Her doctor starts as a professional who does her work but also gets touched by the quirky patient and his emotional awkwardness.
In contrast, the next scene shows Claire Coull and Olivia Post as a couple. One is caring and active, the other a bit astray, thinking of a friend of hers whom she misses and worries about. Thus, it takes more than the usual cup of tea to get her attention back. Claire Coull very funnily starts a performance within the episode to get her partners affection back, both declaring to care for each other forever and ever. That line reminds me of the twins at the Overlook Hotel in Kubrick’s mvie Shining. The lockdown gives the impression of being cut off the world by lots of snow and a few ghosts.
Very funny, in contrast, the next episode: a date in a park or somewhere outside. Social distancing around a bouquet of roses in the bitter winter cold. She, Martina Greenwood, appears like a Russian aristocrat, high-necked and keeping the distance. Every time he gets closer, she steps back. Here Jon Terry's character is more composed than the patient in the first scene but not less longing for an emotional response.
The window scene is very touching, though. Claire Coull presents a lonely but seemingly well-composed woman who aged during the time of isolation and loneliness. She lost her mother. Now she interprets her own mirror image as a reflection of her mother. That long period of loneliness and grief took its toll. But not only on her. The other character, who is out for shopping, moves and speaks like an old woman too although she, Gillian Fischer, appears to be younger. This person cares for her disabled son and aged father. Not much interaction too for her, although she lives together with them. Both characters talk about each other, used to talk to each other directly. It might not be intended but possible to think of both as variations of Heather from the second episode and the doctor from episode one a few months later.
Martina Greenwood presents another lonely woman suffering from isolation. Her character in this episode is presented as a young and naïve woman drives around with her car, singing how much she loves her car. Totally unexpected this car answers and declares his affection for her. Overwhelmed from emotions and longing she starts to interact with this imaginary car personality before she recovers. Recomposing herself she drives back home.
All these stories culminate in the following scene. All the actors embody now characters that are in contrast to those they have presented so far. Olivia Post and Gillian Fischer now give calm, composed women who react thoughtfully on the crisis phone. The one incorporated by Claire Coull seems completely lost and demands to talk only to Gillian Fischer's character. Saskia Wesnick-Wood gives her neighbour as a person who has totally forgotten simple interactions as to knock at the door of someone since personal interaction was so long forbidden. Obviously, the cases the callers tell might be somehow similar to others the operators answering the help line were confronted with earlier. Hence both can offer tried and tested suggestions, even though responding to each caller individually. Also, the recommendations they make seem logical. Still, due to the isolated situations people are in, they are stuck and can't find a way out independently. Martina Greenwood presents another of the callers, a young mother whose life was turned upside down by the pandemic. Now, she has reached a point where she no longer knows which way to turn. To make things worse, her husband has left her, and she misses him. Coincidentally, a moment later, this very husband calls on the other line. This is a situation as sad as it is funny. Jon Terry presents this man as equally perplexed, though quietly desperate, who has also been thrown off course by the pandemic.
The last scene seems as if everything shown and associated so far is intensified once more. She, Olivia Post, irons and ruminates about her situation as an unemployed actress. Her husband, Jon Terry, appears calm and content with his situation at first. All the previously presented episodes echo in the scene's development, which both actors build and hold wonderfully. All the characters we have encountered so far feed in the artistic condensation Olivia Post and Jon Terry parade here. By presenting a couple of artists who suffer being cut off from their artistic expression and work, the losses, fears, processes of repression, emotional rollercoaster rides and fractures that the pandemic demands of everyone are brought to a peak. Lady Macbeth ironing her acting teacher husband’s trousers who is himself is reduced to zoom (where no one will see these trousers), sums it all up.

Simon Price 36 days ago

There were some entertaining moments in this show which consists of a number of independent sketches on a theme. However, for the most part it was poorly written and acted. I don't know what it is about this venue, but having seen three shows there this fringe, all three had lighting issues. In this production the lights went down too soon on an actress during a monologue. However, instead of bringing the lights back up, they stayed down leaving her to deliver the rest of her speech in darkness. Many people left this show early and I wish I had done too - but I kept wanting it to pull something out of the bag at the last moment. Unfortunately it didn't!

E 40 days ago

Some high moments but also some sketches dragged on too long - particularly great sketch on dating in the pandemic, worth a watch overall

Jeremy Hicks 42 days ago

It is possible to combine comedy with pathos, and this show (mostly) does. Some laugh out loud moments, some delightfully over the top performances, all well done. Recommended.

Clive W 43 days ago

Not to my taste. A combination of farce, cringe worthy humour and pathos in roughly equal measure. We stayed the course, but quite a few of the audience made an early exit.

John Blower/Adrienne Raine 43 days ago

Most enjoyable - an excellent show!
Acutely observed and wittily performed through a mixture of humour and poignancy.

Vicki 45 days ago

Our fault for not properly reading the description - this is not a comedy show! Well performed.

Sarah Parris 45 days ago

Wonderful, well done guys. My first Ed Fringe show this year and a perfect combination of and reflection on the impact of the pandemic on people and relationships, with laughs and poignancy.

James Richardson 46 days ago

Just seen this performance - good mixture of laughter and poignancy iin an engaging series of sketches - thoroughly enjoyable and with some memorable performances- I will be encouraging my friends to book while they can.....

Harriet Eaton 49 days ago

There were moments where I properly laughed and there were also moments where I cried because it was such a well done dive into loneliness during the pandemic. It was sensitively, yet emotionally done and the whole show was just an, at times painful, reminder of how awful this pandemic has been for people's mental health. I left just wanting to go home and hug my whole family and tell them how much I loved them. If you are looking for an upbeat, silly, cheery show then this is not for you. But good art makes you feel stuff, and this show does exactly that and there are some truly hilarious and wild scenes scattered throughout it. An hour well spent and a show with messages and scenes that I'm sure I will be thinking about for days to come.

Reported/Removed 43 days ago

This review was reported and removed after review by a Moderator.


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The Violet Curtain (4/5 stars) 41 days ago

Love, Loneliness, and lockdown. This play is the embodiment of everything we have been through over the past months

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