“from bright beginnings this new play strays into troublesome territory”
Autism Spectrum Disorder is a difficult thing to succinctly explain. It’s range of perceptions it inflicts on sufferers towards the world around them vary, and in particular women are often undiagnosed. The Big Things from Kibo Productions explores the condition through the perspective of a couple’s relationship, moving through from their early stages right through to childhood and marriage. As in their relationship, from bright beginnings this new play strays into troublesome territory.
We are plunged straight into the endearing coupling of Malcolm and Grace. She works in the library whereas he is a postman, and it is their differences that attracts them. It is the fact that Grace is different to everyone else that draws Malcolm towards her. Through a series of short, sharp scenes we are led through their relationship in stages, from moving in through to marriage, parenthood and what lies beyond.
Mike Heath’s script moves succinctly from place to place. It jumps from location and time simply, but moves in the end far too quickly, appearing to lose confidence in the second half. It moves from small progressions up to their wedding with confidence but seems desperate in the end to make something happen. So, from the focus on the couple’s relationship we move towards ideas of motherhood, through to how we react to losing the people around us as we grow older. It is a shame, because the focus of the first half feels lost to a wedge of ideas that muddles us later as it tips almost into melodrama.
Sharon Willem’s production is clear and functional but seems to fail to carry the play’s subject matter fully. Some blunt soundtrack choices somewhat diminish some of the emotional impact the piece is aiming for, whereas occasions of discontinuity in how the production deals with the specific form of autism featured, varying the piece wildly. But throughout these are levied by some relatable humour towards an outsider’s approach to everyday interactions.
As a pair May Cunningham and Matthew John Wright have nice chemistry, and draw a couple of fine, detailed performances. They draw in their audience effectively when detailing the smaller moments, including their slight disconnects in perception. A piece of art on a canvas is functional and literal to Grace, whereas it conjures emotion and meaning from Malcom. This conflict coincides with an interesting area to explore for a play, but one that cannot quite stand on its own two feet. There is much for potential development here, but at this stage just feels short.
“needs more than prayers if it wants to impress and do this masterpiece justice”
Dante’s Divine Comedy, written by Dante Alighieri in 1320, is an epic poem seen as one of the greatest in world literature. So It Goes Theatre Company attempted to revive this great masterpiece on the stage breathing some contemporality to this renown text. Whilst, it’s an ancient tale it does still grip and give each kind of audience interesting perspectives, thoughts and discussions to be had after the show.
The story is that of Dante Alighieri (played by Alex Chard), on the brink of death is visited by the great poet Virgil (played Jack Blackburn) who on the request of Dante’s ex-lover Beatrice (played by Kathryn Taylor-Gears) is taken on a metaphysical journey through Hell, Purgatory, and Paradise. In his journey, we are meant to see Dante’s development from someone who was suicidal to one who negated Heaven for wanting to feel life’s suffering once more.
Knowing that I was going to have to review this production both excited and worried me as I was certain that it was either going to be incredible or terrible; in fairness, it was neither. Every production I review I truly hope the piece delivers, but, Douglas Baker’s take on this Divine Comedy just lacked various elements that would have raised the standard and impact of this piece.
I must congratulate Baker’s undertaking of this production as it is a really ambitious project, especially when doing it on a low budget. This did mean that costumes were really simple as the chorus wore simple white tops and black leggings; Dante wore a white t-shirt, checkered shirt with jeans similar to Virgil’s attire of a black t-shirt and jeans.
Personally, I did want for the costumes to have been better chosen. In particularly for the chorus, who for me brought a look similar to a GCSE drama class performance, bringing the aesthetic of this production down. This was pardoned somewhat with the production’s engaging use of animation, flashlights, and shadow puppetry.
However, the reality is the theatre space was the biggest damning thing of this production. This show should not be performing in such a space. It was too small to have the more impactful level of storytelling and detail that could have been carried. A lot of creative choices I can imagine would have likely been impeded because of this cramped space.
With such a space it was no wonder that the movement choreography by the chorus did not always feel aesthetically relevant to the piece. I was really surprised at the end when I read that this production did have a movement director – Matt Coulton. When watching the production I wouldn’t have said that a movement director had choreographed any of the movement sections. Some of the movement/choreography was awkward, unnecessary and repetitive.
The actors delivered a pretty good performance. At times lacking in energy and pace this young company did successfully collaborate to bring a pretty good production. I must commend the chorus as their energy and presence carried this piece. The diverse level of characterisation these 5 young performers portrayed on stage was really fun and engaging to watch. I was never bored throughout this piece except on two parts; the awkward tube singing song to Purgatory and the tribal dance.
Jack Blackburn as Virgil was pretty sweet at times, bringing a bit of comedic relief to certain parts of the touristic journey through Hell. However, he should work throughout this run on working on his character’s intention to bring a more nuanced performance – in fact, a note I would give to all the actors – but this is especially more apparent in Virgil more intense and emotionally varied scenes between him and Dante.
Alex Chard as Dante began the piece quite meekly slowly developing his presence allowing me to warm up more to his character. I felt his character became much more defined and clear particularly in the scenes with Beatrice played by Kathryn who brought a lovely depiction and presence to Dante’s dead lover. I really enjoyed the scenes between Alex and Kathryn. It was in these scenes that I felt began to become more the role of Dante. I understand that up until the point of meeting Beatrice, Dante’s character himself is developing, learning and changing but for us the audience to see and experience his enlightenment from this ethereal journey, we need a strong initial image of who Dante was to who Dante becomes and at the moment this piece doesn’t deliver that.
This was overall an enjoyable piece to watch but it will need more than prayers if it wants to impress and do this masterpiece justice.
