★★★

“a brave and personal play, with a handful of electric moments”

There are some flashes of excellence in this sharp one-woman dark comedy, but it’s not enough to sustain the energy throughout.

Katy with a ‘y’ not an ‘ie’ (her ex asked what self respecting adult has a ‘y’ name) is having a very bad day at the office. She’s going through a break up and her co-workers’ attempts to help are infuriating. She can’t reign in her acerbic tongue. Through flashbacks we learn more about the relationship and why Katy is having such a difficult time moving on.

Created and performed by Sarah Richardson the play balances some strong laughs with moving moments. The unravelling of the truth is well told and carefully, cleverly structured. However the premise is not quite enough to sustain momentum for the full length of the performance. It lags, and begins to feel a little repetitive.

Richardson’s performance is powerful and varied. She plays a range of caricatures through what often feel like comedy sketches of Katy’s life. But the character of Katy herself remains elusive. Little context is given for Katy, we never even learn what her job is, and she feels thinly sketched. There are some searing moments with the ex, which feel very real, but overall she remains a mystery.

Richardson states that where the play ends, Katy’s story really begins, which is a commentary on moving through trauma, but does affect the shape and drive of the drama.

The script teeters between prose and spoken word, sometimes effectively and sometimes a little clunkily. There is a repeated motif, presented as a chorus, of Katy’s grounding phrases, but when used it seems to stall the action and deaden the momentum. The strongest moments are Katy’s catty cruelty but the later compassion never quite pays off, making it feel somewhat mean spirited.

With a simple set of office chair and desk, and smartly choreographed lighting shifts to separate scenes (and timelines) the focus remains on Richardson as the performer.

It’s a brave and personal play, with a handful of electric moments.

BREEDING at the King’s Head Theatre

★★★★

“McStay’s dialogue is electric”

Breeding succeeds in finding a rare balance of sparky wit and thought-provoking poignancy.

It follows a gay couple as they navigate the steps in the adoption process. It’s a three hander – charming, flirty Zeb (Dan Nicholson) kind, anxious Eoin (Barry McStay, who’s also the writer) and their social worker (Nemide May) who becomes far more tangled in this couple’s life, than any of them expected.

It’s slickly directed by Tom Ratcliffe. Short snappy scenes are punctuated with upbeat music and smartly rearranged colourful blocks.

McStay’s dialogue is electric, cleverly painting the nuanced dynamics between the couple and their respective views on fatherhood. For me, the ending was too neat, and there were a couple of moments which felt particularly convenient, but the strength of the characters pulls through these slightly obvious beats.

“Nicholson shines as Zeb and the chemistry between him and McStay is delightful.”

The play is informative about the adoption process, emphasising the shocking levels of scrutiny potential parents are put under. It steers clear of feeling didactic but is an interesting insight for those who aren’t aware of the intensity of the process.

Nicholson shines as Zeb and the chemistry between him and McStay is delightful. They are fully realised, complex characters whose relationship feels truthful and compelling. May is strong as Beth, though it is a difficult part, as so much of her role is facilitating the drama, not being at the centre of it.

Ruby Law’s set is fun and clever. The wall is painted in block primary colours, with pages from the adoption workbook printed onto them. Three of the coloured blocks, which make up the movable set, have light up neon numbers – helping to clarify each of the three stages of the adoption process. It’s well thought out and joyous, with a sharp undertone – in keeping with the play itself.

This was my first visit to the new King’s Head venue, which opened earlier this year and is a far cry from the familiar back of the pub space which we all knew and loved. This is a more sterile, glossy theatre, but crucially with a larger, more versatile performance space. If Breeding is anything to go by, it marks an exciting new era for the space and I look forward to seeing what else is coming up.

SUN BEAR at Park Theatre

★★★

“a brave and personal play, with a handful of electric moments”

SUN BEAR at Park Theatre

Reviewed on 4th April 2024

by Auriol Reddaway

Photography by Jacob Cox

Previously reviewed at this venue:

SUN BEAR

SUN BEAR

BREEDING at the King’s Head Theatre

★★★★

“McStay’s dialogue is electric”

“Nicholson shines as Zeb and the chemistry between him and McStay is delightful.”