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Scrounger

Finborough Theatre

Reviewed – 10th January 2020

★★★★

“a great example of a play that does not appeal to our human desire for resolution, but instead rightly demonstrates that the fight for true equality and justice is far from over”

Directed by Lily McLeish, Scrounger is an autobiographical play that recounts a traumatic incident experienced by Athena Stevens at London City Airport in 2015. Born with athetoid cerebral palsy, Stevens was removed from a British Airways flight when staff could not get her £30,000 electric wheelchair into the hold. When Stevens’ chair was returned to her, it was severely damaged, leaving her without autonomous mobility and trapped in her flat for months before she received settlement.

Through Twitter hashtags, an appeal to EU law, and a petition organised by campaign group 38 Degrees, Stevens boldly embarks on trying to a change a system that is inherently stacked against her.

Stevens however does not only point blame at our Conservative government, but also the show’s presumed audience, specifically, “the left leaning, Guardian reading, Daily Mail hating, Oxfam giving, colour blind seeing, red voting, paper straw using, conflict avoiding, zen loving, feminist supporting, always for the few…liberal minded you.” The villains of this story are not just the incompetent staff she had encountered, but Stevens’ yoga-loving boyfriend and obtusely middle-class friend Emma as well, all of whom are played excellently by Leigh Quinn.

A central theme of the play is conflict and the inherent privilege of being able to avoid it. Stevens notes that amongst her friends she is known as always being ‘up for a fight’ but explains that her very existence as a disabled individual necessitates this. The faith that Stevens’ boyfriend has in the legal system to deliver justice highlights this well and succeeds in making the audience consider how they too may just be another cog in the flawed machine.

The production is split into some-twenty chapters titled with an exciting summation of the contents of the coming scenes though what follows sometimes only lasts a couple of minutes. Simultaneously, when the chapters reach double figures, there is little plot to show for it. There would certainly be great benefit to the performance’s pace in amalgamating a few chapters.

There is also little to no sense of how much real time has passed until Quinn suddenly announces halfway through the show that it has been 35 days since the incident. Based on the events that have unfolded by this point, the audience would be safe to assume it had been less than a week. Signposting the days more clearly, and perhaps even replacing the chapter titles with the day count, would certainly help to reduce moments where the play feels stagnant.

A wonky white house set (Anna Reid) surrounds the stage with two respective doors and neon-framed windows for entrance, exit and pop-ups. When she’s not playing a plethora of different characters, Quinn sits at a desk to the front right of the stage from which she accesses several props, a soundboard and a microphone. The sound (Julian Starr) and lighting (Anthony Doran) does well to match the mood on stage, though some of the production’s most powerful moments occur when everything is stripped back and Stevens addresses the audience without the glitz and glamour of the theatre.

Scrounger offers an important narrative about oppression and non-linear progression. Crucially, Stevens’ story does not end in rainbows and sunshine with everything tied up in a little bow. There is no great monetary victory; no law created to protect those vulnerable to similar mistreatment; and no real consequences for the companies involved. Scrounger is a great example of a play that does not appeal to our human desire for resolution, but instead rightly demonstrates that the fight for true equality and justice is far from over.

Reviewed by Flora Doble

Photography by Lily McLeish

Scrounger

Finborough Theatre until 1st February

Previously reviewed at this venue:

Jeannie | ★★★★ | November 2018

Beast on the Moon | ★★★★★ | January 2019

Time Is Love | ★★★½ | January 2019

A Lesson From Aloes | ★★★★★ | March 2019

Maggie May | ★★★★ | March 2019

Blueprint Medea | ★★★ | May 2019

After Dark; Or, A Drama Of London Life | ★★★★ | June 2019

Go Bang Your Tambourine | ★★★★ | August 2019

The Niceties | ★★★ | October 2019

Chemistry | ★★★ | November 2019

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★★★★

“Now in a venue every bit as grand as the writing deserves, The Sweet Science of Bruising is a gripping spectacle”

If you were given a minute to name as many stories about boxing as you could, you’d probably get into double figures. After all, there were six Rocky films alone. However, if this was narrowed down to women’s boxing, you might get Million Dollar Baby and then hit a wall.

In ‘The Sweet Science of Bruising’, Joy Wilkinson has written a worthy addition to this untapped canon. The play follows four women from different stratum of Victorian society who take up fisticuffs for a plethora of reasons: to champion women’s equality, to overcome domestic abuse or just because they’re good at lamping people. The first act romps along with the sort of feelgood factor – all upper cuts and corsets – that wouldn’t be out of place in the sort of Britcom film starring Gemma Arterton. However, things take a turn for the darker after the interval and there are several devastating moments that take the wind out of you.

The production premiered at Southwark Playhouse last October and since then, you can tell it’s been honed further, with the overall pacing now as lean as a boxer weighing in pre-fight. Some of the dialogue is ladled on a bit thick, but only to minor detriment. The main change is, of course, the venue and it’s difficult to imagine anywhere more fitting to stage it than Wilton’s Music Hall. Built in real life only ten years before the play was set, the venue certainly adds a seedy realness to the underground fighting in the script. Director Kirtsy Patrick Ward utilises the space brilliantly. One climatic fight scene has the majority of the ten-strong cast rushing in and out of the wings and onto the balconies in such an explosive manner that it has your eyes darting about like a dog watching a volleyball match. Even the subtle touches are there too – a layer of dry ice hangs in the air like the sort of deep Victorian smog in which Jack the Ripper lurked.

Credit must go to Kate Waters, the fight director – not a title you see on a programme all too often. What could have easily looked like drama school graduates pulling on boxing gloves for the first time actually looked fairly convincing. In fact, Fiona Skinner – who was difficult to prise your eyes off as the hyperactive northern lass Polly Stokes – looked like she could be quite handy in the ring if the whole thesp thing doesn’t work out. What’s more, while it seems churlish to pick out a male actor’s performance for particular praise in a play all about female empowerment, Owen Brenman is especially amusing as the verbose Svengali figure who organises the bouts.

Now in a venue every bit as grand as the writing deserves, The Sweet Science of Bruising is a gripping spectacle that never drops in quality and doesn’t shirk in getting stuck into the burning injustices of the time.

Reviewed by Joe Holyoake

Photography by Mitzi de Margary

Finborough Theatre

Reviewed – 10th January 2020

★★★★

“a great example of a play that does not appeal to our human desire for resolution, but instead rightly demonstrates that the fight for true equality and justice is far from over”

Through Twitter hashtags, an appeal to EU law, and a petition organised by campaign group 38 Degrees, Stevens boldly embarks on trying to a change a system that is inherently stacked against her.

Reviewed by Flora Doble

Photography by Lily McLeish

Scrounger

Finborough Theatre until 1st February

Previously reviewed at this venue:

Wilton’s Music Hall

Reviewed – 7th June 2019

★★★★

“Now in a venue every bit as grand as the writing deserves, The Sweet Science of Bruising is a gripping spectacle”

If you were given a minute to name as many stories about boxing as you could, you’d probably get into double figures. After all, there were six Rocky films alone. However, if this was narrowed down to women’s boxing, you might get Million Dollar Baby and then hit a wall.

Now in a venue every bit as grand as the writing deserves, The Sweet Science of Bruising is a gripping spectacle that never drops in quality and doesn’t shirk in getting stuck into the burning injustices of the time.

Reviewed by Joe Holyoake

Photography by Mitzi de Margary

The Sweet Science of Bruising

Wilton’s Music Hall until 29th June

Last ten shows reviewed at this venue: