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★★★

“a little more finesse in both writing and performance could have shifted things up a gear from good to really, really great”

Being dumped sucks. Being dumped after a decade in a relationship? Well… that’s something else. Natasha Santos’ script and performance explores the trauma – and ultimate redemption – in forensic detail.

The Everest of the title is Rob Everest, Libby’s (now) ex-boyfriend and sometime nemesis. Santos has great fun as Libby, clearly enjoying the playfulness of her script and exerting considerable charisma. And she gives us lots to enjoy; Libby regales us with her woes via clever musical accompaniment and much wit. We’re treated to flashbacks to her childhood friendship to the strains of the Spice Girls, an excruciating workout class to Salt-N-Pepa and, poignantly, José González’ Heartbeats as we see the first glimmers of Libby’s hope for a new life.

The music choices are uniformly great (what better break-up song is there than Nothing Compares 2 U?) and special mention must go to the choreography, which is hilariously on point. The trio flick into movements in perfect unison (including a memorable impersonation of Libby’s ex’s sexual prowess), adding a polish to the fast-moving performance.

With all the riotous humour of the piece, though, the production can at times feel overdone. Characterisations, such as that of Libby’s ghastly colleague Sandra, can creep towards parodic gurning, and this does a disservice to the quality acting on offer (both of Santos’ fellow actors Grace Dunne and George Vafakis more than hold their own here, with some beautifully wry performances). Some of the more extreme caricatures of heartbreak feel more than a little hackneyed, as Libby knocks back the Pinot and drunk dials Rob to sing Whitney down the line. And small details can feel distracting and detract from an otherwise smooth production; pretending to swig from empty wine bottles feels like a mimicry too far, for example.

It’s great to see such a defiantly female-led production, from Santos as writer and lead to director Katherine Timms and especially great work from technical designer Abi Toghill. And it’s an appealing production, too. Just a little more finesse in both writing and performance could have shifted things up a gear from good to really, really great.

Reviewed by Abi Davies

Box Clever

The Bunker

Reviewed – 28th March 2019

★★★★★

“a realistic insight into an unpleasant world of abuse and despair”

Since opening in 2016 the Bunker Theatre has remained true to the initial objective of being home to exhilarating and contemporary theatre, representing the world in which we live. The current season, announced as revolutionary from new artistic director Chris Sonnex, features a double bill of one-woman shows – namely Killymuck and Box Clever. Whilst each show can be seen individually on separate dates, watching both the same day is recommended, as whilst very different, together they have a connection of putting female benefits-class and working-class voices forward.

Box Clever written by Monsay Whitney tells the story of Marnie a young single mother and highlights the problems of getting into a circle of abuse, homelessness and despair. Using the same Minglu Wang set and production team as Killymuck (less the centre soil), Box Clever takes the viewer through a diverse set of emotions as Marnie’s life spirals downwards over a ten year period. It begins as extremely funny and yet as the play progresses it becomes heartbreakingly sad.

Marnie is brilliantly portrayed by Redd Lily Roche who enters the stage in white jeans and t-shirt stained with blood. She has a violent off stage boyfriend, Liam – the blood likely being from his violent behaviour towards her. Other males in her life are unpleasant towards her too.

When Marnie is telling the stories of her boyfriends and others she comes in contact with, the dialogue is exceptionally funny. One could almost imagine the character and stories being picked up by a TV producer and being a successful late evening show. Her interaction with boyfriends, her key worker and mum are all very cleverly written and fun to watch.

However as the play progresses and she goes to live at a Women’s Refuge the text becomes darker and more sinister. It is clear that she is not in the safe place she expected. Her four year old daughter is represented by a white balloon that Roche brings to life with her caring attitude to do the best for her. Her interactions with her daughter are totally believable.

The direction from Stef O’Driscoll is perfect, Joe Price’s lighting supports the drama and Benjamin Grant’s sound design underlines the tension. This piece more than anything else I have seen this year had an immediate and profound effect on me. I left the theatre inspired by the performance from Redd Lily Roche who gave a realistic insight into an unpleasant world of abuse and despair. It is an unmissable show – well done to W14 Productions and The Bunker for bringing it to a London audience.

The Hope Theatre

Reviewed – 29th April 2019

★★★

“a little more finesse in both writing and performance could have shifted things up a gear from good to really, really great”

Being dumped sucks. Being dumped after a decade in a relationship? Well… that’s something else. Natasha Santos’ script and performance explores the trauma – and ultimate redemption – in forensic detail.

Reviewed by Abi Davies

Getting Over Everest

Hope Theatre

Last ten shows reviewed at this venue:

The Bunker

Reviewed – 28th March 2019

★★★★★

“a realistic insight into an unpleasant world of abuse and despair”

Marnie is brilliantly portrayed by Redd Lily Roche who enters the stage in white jeans and t-shirt stained with blood. She has a violent off stage boyfriend, Liam – the blood likely being from his violent behaviour towards her. Other males in her life are unpleasant towards her too.

Reviewed by Steve Sparrow

Photography by Craig Sugden

Box Clever

The Bunker until 13th April

Last ten shows reviewed at this venue: