Tag Archives: Addison Waite

In Loyal Company

In Loyal Company
★★★★

VAULT Festival

Reviews, , , , ,

In Loyal Company

In Loyal Company

The Vaults

Reviewed – 27th January 2019

★★★★

 

“a gripping, moving tale about the limits of human endurance and the strength of young people’s spirits”

 

Arthur Robinson (but his family calls him ‘Joe’ because it’s simpler) is a young lad in Liverpool in 1941. He works as a packer in a factory, goes to the dancehall where he’s too nervous to ask a girl named Mary to dance, and looks forward to his mum’s scouse dinner on Sundays. All of that changes when the Germans bomb the city. By chance, Joe’s family’s house is spared. Joe’s best mate Frank isn’t so lucky. Frank’s death is a turning point: Joe decides to join the army.

In Loyal Company, written and performed by David William Bryan, is the true story of Bryan’s great-uncle, who fought in South-East Asia during WWII and was eventually taken prisoner by the Japanese. It’s a gripping, moving tale about the limits of human endurance and the strength of young people’s spirits. From ‘lights up’, Bryan’s talent as a performer is clear. He owns the stage, powering through the hour with the sort of ease and confidence that’s truly enjoyable to watch. With only vivid description, some good movement direction, and sound effects, Bryan and Jonny Ryan (lighting and sound) bring a war to life.

There is no set – just one crate on a bare stage – and yet, with the richness of his language, and the earnestness of his performance, Bryan succeeds in immersing the audience in the foxholes of battlefields, aboard ships, and in the jungles of Thailand. The shows at VAULT Festival are at varying stages of development. In Loyal Company stands out for its sophistication and polish.

Bryan’s ability as an actor is well-matched by his skill as a writer. He’s crafted a tight hour. Where many fringe shows struggle with meandering narratives that stall and start, it’s a relief to be on a deliberate, solidly-structured, well-paced journey. One potential issue is that the second half is much heavier in tone than the first. Although this is natural for war stories, a bit more levity might have been nice – some comic relief appreciated. It would soften the contrast between the two halves, which at the moment is quite stark. Nevertheless, it’s an absorbing story and a thoroughly engaging performance. Bryan is undoubtedly an artist to watch.

As a WWII story, In Loyal Company takes on extra significance this week, which includes Holocaust Memorial Day. Although the story doesn’t deal directly with the events in Europe at the time, it is a powerful reminder of the horrors so many young British men endured in defiance of fascism. At a time currently witnessing a rise in nationalism and the scapegoating of outsiders, stories like Bryan’s hit back with stinging relevance. Just two generations ago, the British people sacrificed everything to take down Hitler’s regime. Today there are certain, increasingly vocal factions that want to emulate it. Now more than ever it’s imperative to tell our grandfathers’ stories. Remembering real heroes, like Arthur ‘Joe’ Robinson, who fought against world leaders caring nothing for human rights, may help curb the rising tide of hatred.

 

Reviewed by Addison Waite

 

Vault Festival 2019

In Loyal Company

Part of VAULT Festival 2019

 

 

 

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Pramkicker

Pramkicker
★★★

VAULT Festival

Reviews, , , , ,

Pramkicker

Pramkicker

The Vaults

Reviewed – 23rd January 2019

★★★

 

“will have real potential when it finds its focus, and chooses a direction”

 

Jude (Sarah Mayhew) never married. She never had kids. For her, these things were never a priority. She doesn’t hate children, but she does hate smug mums with superiority complexes. One day, when one such mum and her wild, screaming children are blocking the till at a café where she’s trying to order coffee, and the mum suggests Jude is intruding on them and their ‘creative time’, Jude snaps. She and the mum get into an altercation that results in a pram being kicked rather forcefully. Although the pram was empty (Jude isn’t a monster), the incident lands her in anger management therapy, which she attends with her sister Susie (Sadie Hasler) for support.

Old Trunk Theatre’s Pramkicker, written by Hasler, examines the various pressures and difficulties faced by modern women. However, instead of one articulate narrative, the play feels like a jumble of pieces that are not cohesive in tone, style, or even theme. They could be extracts from different scripts. It’s a promising intro: the pram-kicking incident is funny and a creative illustration of the stand-off between mothers and ‘childfree’ women. There’s some well-executed physical comedy between Mayhew and Hasler as they acted it out. We want to know what happens next.

But the play quickly veers off the path, and we are suddenly with Jude’s sister, who tells us about her childhood. The therapy sessions inexplicably morph into a talk show before they (along with an odd voiceover from a therapist) disappear altogether. Then Jude is telling us about the time she lived with Russian prostitutes and cocaine-dealing gangsters. It’s scattered, messy storytelling. Each jarring jerk of the steering wheel makes us less certain Hasler knows where she’s going. The assorted sections are interesting in their own right, but it’s difficult to feel invested in what’s happening as we are pulled roughly from each scene and carelessly tossed somewhere else. The abrupt transitions are emphasised by harsh, blinding white light.

Non-linear storytelling is a stylistic choice, but there is a question of whether Pramkicker is an actual story more than a cobbling together of disjointed anecdotes. The individual scenes display considerable writing skill – there are moments of impressive spoken word performance – but it seems there was little effort made to shape them into something coherent.

Pramkicker takes on a multitude of urgent, controversial topics about the ways in which women relate to society, motherhood, and each other. It will have real potential when it finds its focus, and chooses a direction.

 

Reviewed by Addison Waite

Photography courtesy Old Trunk

 

Vault Festival 2019

Pramkicker

Part of VAULT Festival 2019

 

 

 

Click here to see more of our latest reviews on thespyinthestalls.com