Review of Bare Bones Nights
 | "Four plays, brief but bittersweet" by Maddy Ryle for remotegoat on 01/04/10 |  |
'We Heard a Screech', written by Jack Thorne and directed by Meg Hillyard, was a manic and rather brilliant monologue on the death of the family dog delivered with superb timing and sensitivity by Leanne Davis as the crazy but charismatic Alice. Thorne's wonderful script touches on deep themes of loss and fragility but through a comic offering that is also very playful in its approach to narrative, invoking regular repetition to build up its storytelling and in the process exposing by poignant degrees the mental state of it protagonist.
'You Can't Buy Toy Soldiers', written by Karis Halsall and directed by Rebecca Adamson, was the most directly topical production, drawing parallels between two mothers, one of whom loses her son in war (Afghanistan we presume), and the other in gang violence on the streets of London. This is not always an entirely convincing comparison, and there were moments that felt somewhat lacking in confidence. However the central scene in which a young male photographer arrives (presumably via Gumtree or something similar) to buy toy soldiers from the grieving army mother for a shoot was full of moving human tension. Aside from the interesting relationship between photography and death that this last verb suggests, the interaction captures extremely well the agony of this woman's loneliness and the gulf in understanding between her and this "artist", whom she perceives as unbearably naïve. Nicola Randall is excellent as the mother.
'Just Chuck' was another monologue performance. Written and acted by Benjamin Kissel, and directed by Cathal Cleary, this was an ambitious project. Kissel attempts to take on the character of a young boy, his parents recently separated, who turns to his inner world and the company of imaginary friend Silly Rog for solace in his changed environment. Having a grown man acting a young child is no easy task. Kissel is not completely successful, and at times this jarred with its overacting. However there was a lot of charm as well, and Kissel's physicality and control of the space were impressive. Again the poignancy of fractured family relations and their impact on children were thoughtfully captured.
The most light-hearted piece finished off the evening. 'Waiting for Dafoe', written by Tom Ellen and directed by Juliane von Sivers, feels initially like an extended sketch show vignette. Two very different men meet in an airport lounge as one, a scruffy Scotsman, is trying to score dates with women by holding up a sign with Willem Dafoe's name scrawled on it. The concept offers great comedy material for exploring the dynamics of the sexual pick-up, but it also entertains more serious moments about confidence and self-identity as well as the shallowness of celeb culture.
The format of Bare Bones is very rewarding; the brevity of the pieces seems to encourage a satisfying intensity in the writing, which in turn delivers strong and committed acting performances. The excitement of seeing multiple such productions in one evening is a treat for audiences.
| Event Venues & Times | |
| finished | Old Red Lion | 418 St John Street, London, EC1V 4NJ |
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