★★★

“It’s an astonishing performance from Campbell, and Snell’s tracks complement it well”

This intense and intimate reimagining of Kieran Hurley’s 2012 play captures the appeal and vibe of ‘90s rave culture, while missing what makes it interesting now.

The concept of Beats is unusual – it’s a one man performance, by producer/director/performer Ned Campbell but is accompanied throughout by a live on-stage DJ (Tom Snell). The line between play, performance and gig is ripe to be blurred and played with. But the DJ fades increasingly into the background and is used more to build atmosphere.

The plot is simple. In suburban Scotland in 1994 Johnno McCreadie goes to his first rave, while his mother wrings her hands at home and a police officer battles with the wider political effects of his job.

There is a mesmeric quality to the lyrical prose mixed with the thudding, repetitive tracks. At times this bubbles the audience in with the performer, both caught up in the high of the music. Often though the mood is somnambulant, lulled into drowsiness by the rhythm of the piece.

Campbell effortlessly slips between multiple characters, often mid sentence. His startling grotesques are clear and well-realised. The piece is carefully calculated by him and co-Director Eloïse Poulton to make these character shifts stark and dramatic.

Hurley’s script does pose some provocative questions about rave culture and the dire effects of Thatcherism on these small Scottish communities. But all it succeeds in doing is nodding to the politics, hinting at something more interesting beyond the fairly predictable plot that is presented.

Alex Lewer’s lighting design is superb, and probably my favourite thing about this play. Slick character transitions are punctuated by lighting shifts and the rave comes alive with a smattering of colour and motion in the lights.

It’s an astonishing performance from Campbell, and Snell’s tracks complement it well. But the play itself lacks enough intrigue to remain compelling.

LEAVES OF GLASS at the Park Theatre

★★★★

“Max Harrison’s staging is beautifully faithful and sympathetic to the writing.”

Memories contain errors. Memory is highly malleable; therefore, often unreliable. It can be altered by emotional state from the very second it becomes a memory. Or many years later. Yet most of us like to think our own recollections are infallible, even when we know we might be twisting it. That’s just survival, according to Philip Ridley who explores these themes in his 2007 play “Leaves of Glass”. The middle episode of his ‘Brothers Trilogy’, it was preceded by ‘Mercury Fur’ and followed by ‘Piranha Heights’.

“Leaves of Glass” centres around two brothers, Steven (Ned Costello) and Barry (Joseph Potter). Five years apart in age, but on the surface, they couldn’t be further apart from each other. Steven runs a successful graffiti removal business while Barry, despite being a bit of a dogsbody in the firm, is a struggling artist. Steven appears to have his head screwed on, whereas Barry’s is lost in drink and hallucinations. Their respective memories of their father, whom they lost at a young age, are on different tracks. Yet there are similarities that bond them. But like similar poles of a magnet, they repel each other. Their mother Liz (Kacey Ainsworth) tentatively holds them together, despite her affections wavering between the two as wildly as her own recollections. The only solid presence is Steven’s pregnant wife Debbie (Katie Eldred) who is aware of the fragility of the family, but her tolerance doesn’t stretch to assuring nothing gets broken.

The intensity of the play comes not just from the spoken word, but the silence that surrounds a traumatic incident from the brothers’ childhood that neither seems willing to talk about. When the silence snaps, the effect is shocking. The pieces come together but nothing fits, as the final battle of memories is like a duel to the death.

“Sam Glossop’s underscore splits the play’s segments like splinters of sound that throw us off balance”

The intensity of the play also undoubtedly comes from the performances. Costello and Potter both capture the inherent danger in Ridley’s script and in their characters. Costello in particular, like a brooding prisoner who never leaves the stage. Neither can escape their version of the truth – a truth that we can only keep guessing about. Eldred’s Debbie, the outsider, is more grounded but not quite strong enough to dodge the fallout from the brothers’ mind games. Ainsworth is a mix of concern and complicity as the mother who inflates her own ability to cope. ‘I’ve buried two parents and a husband’ she continually reminds us, ‘I think I’m capable of carrying some tea and biscuits’. The little hints of domesticity are a thin gauze over the deep cracks that run through this family.

Ridley’s signature is splashed all over the piece, although less shocking, and perhaps more thoughtful, than some of his other work. Max Harrison’s staging is beautifully faithful and sympathetic to the writing. Some scenes are short, like pieces of broken glass. Other scenes start when they are already up and running. They end unresolved. It is discomforting and reflects the unravelling of the minds of these four protagonists. The actors come into the scenes from different angles – as jagged as the eponymous leaves of glass. Alex Lewer’s lighting is just as evocative, swinging from harshness to near darkness like a horror film’s bare light bulb; while Sam Glossop’s underscore splits the play’s segments like splinters of sound that throw us off balance.

It is difficult to tell the difference between a lie and a truth misremembered. This family is built on both – a pretty unstable foundation to begin with. It is not always easy viewing to witness, but the craftmanship of the acting and the writing force us not to look away. Memory may be fragile, but “Leaves of Glass” will be difficult to forget.

BEATS at the King’s Head Theatre

★★★

“It’s an astonishing performance from Campbell, and Snell’s tracks complement it well”

BEATS at the King’s Head Theatre

Reviewed on 19th April 2024

by Auriol Reddaway

Photography by Josh McClure

Previously reviewed at this venue:

BEATS

BEATS

LEAVES OF GLASS at the Park Theatre

★★★★

“Max Harrison’s staging is beautifully faithful and sympathetic to the writing.”

“Sam Glossop’s underscore splits the play’s segments like splinters of sound that throw us off balance”

LEAVES OF GLASS at the Park Theatre

Reviewed on 25th January 2024

by Jonathan Evans

Photography by Mark Senior

Previously reviewed at this venue:

LEAVES OF GLASS

LEAVES OF GLASS