“Pride Of Place” by Jack Horsefield and Martin Johnston opened the evening. In the office of a small company that supplies gravel to the construction industry, Amber the harried HR manager is trying to sort out two complaints that have been made. Melvin – older, uptight, scrawling everything into a notebook, and straight – wants the rainbow flag on all corporate material during Pride to show solidarity. Jeff – younger, acidly charming, very rude, and gay – doesn’t. His reasons are that it is virtue-signalling, futile and patronising. Then it went a bit Pirandello, with the actors breaking out of the story to ask the audience what they thought, and the director – a gruff Stewart Campbell – bawling them out from the lighting box, and telling them to get back to doing the play. The results of the audience poll were fascinating, and these are themes and characters that can be used for a much longer play. Patrick Jeffries stole the show as Jeff. John Joyce O’Keeffe fenced him as Melvin. Michelle Kelly was the tired referee as Amber.
“Body Positively Fine” by Caitlin Magnall-Kearns is the early romance of two young women who first meet via the internet. A rapid sequence of dating scenes show the progression of the relationship – but something is causing Carla to delay the moment when she and Jill get their clothes off with each other for the first time. And it’s the prospective nudity itself that is the issue. Delicately directed by Hannah Ellis Ryan, there were beautiful performances from both actors. Jess Perillo, as Jill, had the surface of a wholesome primary-school teacher, and the undercurrent of passionate lust. Elizabeth Meadows, as Carla, was a nervy collection of ethereal energy, with a stage presence that flooded the space.
“Moneybags” by Victoria Tunnah is an inverse crime comedy. Friends-with-benefits Tony and Emma have stumbled on a large sports bag of cash, and believe it to be the takings of a dangerous drug dealer. On the one hand, they want to keep it and spend it; on the other, they don’t want a drug dealer breaking their fingers. The ensuing squabble reveals various other aspects of Tony’s rather freeloading relationship with Emma, and leads to a lot of cake and alcohol being sprayed around the stage. Directed with energy by Adam Cachia, Riah Amelle was sunnily irresponsible as Tony, and Leni Murphy was more cautious and quietly desperate as Emma.
“Biters” by Eytan Deray trades on that visceral fear of what if you go back with a stranger to his home, hoping romance, and it all goes horribly wrong? In this case, it is because Rory is a murderous sex-crazed vampire, and Kurt is a very nervous virgin. Director Stewart Campbell got a good balance between the power imbalance and use of force, and the moments of black comedy that relieved it. Brandon McCaffrey relished in being Northern vampire Rory, with a lair that looked like a squat in Salford. Joey Ethan held his own as Kurt, and brought some genuine tenderness to the piece.
“Parental Guidance” is a monologue written and performed by Jude Leath. The Parent, dressed in colourful yet maternal-looking clothing, is waiting at the school gate for afternoon pick-up and sharing a series of internal thoughts and fears. This is a new Parent: the children were only adopted a few months ago. Most of the time the Parent is their dad, but at times becomes their mum. This is the first time the Parent has come to the school gate dressed as mum. What are the other parents thinking and feeling and judging on? Director Adam Cachia handled the piece with sensitivity, and Jude Leath gave a very moving performance.
“Natter” by Joe Henry-Evans is two young men playing two older women in a Monty Python highly-characterised style. Helen and Linda wear head-scarves and cardigans, and appear to be from somewhere in the late twentieth century, judging by the pop culture references and vague references to a new nasty disease. Over tea and biscuits, the conversation turns to Linda’s forty-year-old son, and Helen’s gentle suggestions that he might possibly be gay. This is a thought that Linda actively resists. “Natter” is a very two-dimensional portrayal of older women of the late twentieth century, but it did give Joe Henry-Evans a chance to show off his considerable comic acting skills as Linda – even when not speaking, every twitch of his face was loaded with energy. John Thacker, as Helen, was the perfect calm and sweet foil. Director Stewart Campbell kept a crisp pace, and the audience found it uproarious.
on - 22.8.23
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