REVIEW: One Act Play Double Bill - The Coliseum Theatre, Oldham.

Shown as part of an initiative ['Main House Takeover'] which puts Fringe theatre productions - those that would normally be showcased in a smaller or studio theatre space - onto the Coliseum's main stage, in order to highlight the quality and diversity of work which is happening in Greater Manchester and to show audiences the kind of thing they might expect in the new Studio theatre when the Coliseum transfers to its new building on Union Street.

Pop - presented by Eventhorizon Theatre Company.

The first of the two one-act plays this evening was Oldham Coliseum's own Pick Of The Fringe 2018 award-winner, Pop.

Sitting on stage as we entered and staring accusingly at us were Beth and Abbi. In amidst a jumble of cables, neon lights and clothes, this pair take us on a dizzying journey crisscrossing several decades in flashback at lightning speed. I was uncertain where the play started but it seemed to end in an imagined future when they were both a lot older and life and careers had taken their toll. For the majority of the play though it centred around their preteen and teenage years - the 1990s and early 2000s - and their life in their 20s after school when other events had torn them apart.

Beth (Lauren Foster) and Abbi (Martha Godber) are best friends and always tell each other the truth. They are fashion concious, trend-loving, top 10 pop music listening, girls who once they start growing up start looking at boys who start looking at them!  They go through their teenage years experimenting with alcohol, sex, parties, sex, fashion, and sex.

When one of them has a seemingly drunken fling with the other's boyfriend, and then cries 'rape' - things turn extremely sour between them as the police are involved and they become separated. One goes off to live in New York with her 'shrink' lover, the other stays here and makes the best of it. Communication is never truly lost however as their bond of friendship is so strong they still 'watch' each other via Facebook and often think of each other.

Years later, a meeting, a reconciliation, and although they probably will never be as close as they were; 'closure' has been made and all is well.

The narrative is punctuated by pertinent music of the era, and the scene changes / flashbacks are excellently executed by a simple single noise and lighting change each time which was most effective.

Godber was certainly the stronger performer of the two, and I felt that she was, at times 'carrying' Foster a little. I was also having difficulty hearing Foster this evening too, her projection to the rear of the theatre was not particularly good.

Narcissist In The Mirror - presented by Nothing To Declare Productions

The second play this evening was a one-woman show performed by Rosie Fleeshman, which has already won several awards and has returned to Manchester now after a hugely successful sell-out run at this year's Edinburgh Fringe. It is Narcissist In The Mirror.

Using naturalistic monologue as well as poetry this was quite a unique piece of writing which started well and only got better. Just going to prove that Fleeshman is not only an outstanding actress, but has a huge talent in the writing department too.

This is a darkly comic and comically dark piece of writing which addresses current issues such as self-worth and self-identity, obviously close to Fleeshman's heart with sincerity, inoffensively and unobtrusively. She starts, seated at the mirror of a theatre dressing room, and she expounds on the highs and lows of her acting career and her sexual exploits holding the audience exactly where she wants them. Fleeshman is an enigmatic actress who has the power to hold our attention even when she is essentially not doing anything, and that is quite an accomplishment.

Directed by her mother, Sue Jenkins, this may seem a little nepotistic, but after all, who knows her better than her own mother; and since this is a very personal piece for her, it did make sense, and Jenkins' direction was tight, creative and cohesive.

I don't want to give away much of the story, if any, since if you haven't yet seen it, you really must, and there is a wonderful bitter-sweet twist towards the end.

Fleeshman is the narcissist in her own mirror, as she lives on others' adulation and recognition, and yet, is she really exactly what we perceive her to be?! With humour, frankness, poignant and realistic acting, there is absolutely nothing I can add to this review except to say that it is simply one of the best pieces of (Fringe) theatre and monologue performances I have seen, ever!

Reviewer - Matthew Dougall
on - 28/9/18