RUN TO THE NUNS – THE MUSICAL at the Riverside Studios
This show is presented as work-in-progress
★★★★
“a joy to witness, and anyone seeing this show will be wanting to follow its course, swept along by the energy and camaraderie of the company”
When Hamlet cursed Ophelia, commanding her to “get thee to a nunnery”, he almost certainly didn’t have in mind ‘Cressida’s Convent’ – the fictional nunnery by the sea. A shame really. It could actually have been Ophelia’s salvation. Judging by the teasing glimpses we get during the new musical, “Run to the Nuns”, this somewhat unconventional retreat is the perfect getaway. A cross between a sexual health clinic and holiday resort, it promises paradise, but not in the way your typical sister would expect. Chastity? No thanks! Silence? You’ll be lucky! The only vow required, it seems, is to have as much fun as possible during your stay.
Billed as a Queer Musical, it is far more interesting than that. It doesn’t need the label. Rooted in feminism it even transcends, without renouncing, that classification with its self-deprecatory style and comic turns of phrase. Jenette Meehan’s character driven writing is steeped in affection for its targets, which simultaneously softens and sharpens the satire. Rosa Lucaks’ compositions, performed by the spirited bunch of actor musicians throughout, are catchy and pared back enough to allow the sharp-witted lyrics to cut through. (It is unclear whether Meehan or Lucaks are to be credited for the lyrics, or whether a collaboration).
The convent/clinic/retreat/ (delete as applicable) is run by ‘Doc’ (Estelle Homerstone) and her eccentric sidekick ‘Sage’ (Cat Thomas), aided by resident gynaecologist ‘Kat’ (Dani Croston) and a regular troupe of ‘sisters’ (or rather siblings). The idyllic, albeit mismanaged, lifestyle is thrown into jeopardy by Kat’s former lover, ‘Orlagh’ (Eve Pereira), who arrives bringing both the ‘romantic subplot’ and the ‘deus ex machina’. Musicians Bettine Solf and Inés Ruiz, doubling as patients and/or siblings, complement and complete the family.
As part of the Bitesize Festival at Riverside Studios, “Run to the Nuns” epitomises the spirit and objectives of the project. Designed to allow producers, writers, directors, musicians, comedians, and cabaret artists to test new work, it has attracted a varied roster of performances across the genres. The shows are, by default, in their early stages. Yes, they might be under scrutiny, but nobody is judging. Audiences are encouraged to get into the festival spirit and enjoy (and there is plenty to enjoy throughout the month); but feedback is always welcome, and sought.
Despite a run on the Brighton Fringe earlier in the year, “Run to the Nuns” is evidently still a work-in-progress, with its budgetary and time constraints clearly showing. Yet these limitations are thrown into focus purely by the light that bounces off the jewel this show can be carved into. The story needs to be fleshed out, and undoubtedly more musical numbers are in the pipeline. The delightfully idiosyncratic characters could do with a bit of extra company. This is what the Bitesize Festival is all about. It is a joy to witness, and anyone seeing this show will be wanting to follow its course, swept along by the energy and camaraderie of the company. “Run to the Nuns”? Producers out there – the race starts here. But be quick.
“We have had a bite, and the taste does leave us wanting more.”
“We’ve just made some mistakes on a global scale. But we can fix it” says Owen (Mohamed Manso Bangura), the eternal optimist, trying to keep his head above water. Ashley (Alicia O’Neill) is certain the world is about to end – a conviction amplified by the television news bulletins that she listens to. Owen’s perception of Armageddon is on a more personal scale, and he is more worried their relationship is about to end – never mind the rest of the world. Best buddy Charlie (James Douglas Quarcoopome) is a constant presence with his misguided moral support, but it’s hard to buoy someone up when you’re sinking fast yourself.
“The Sun Will Rise” is part of the third Bitesize Festival at the Riverside Studios. Initiated in January last year, during which nine shows took to the Riverside’s stage, the current instalment features over thirty productions in varying stages of development. It is a melting pot of creativity, in which risks can be taken and mistakes can be made without fear or favour. The result is an eclectic mix of performances spanning the worlds of comedy, music, drama, dance and cabaret. There does seem to be a brief, that is loosely adhered to: the shows tend to reflect the world around us and add their own individual commentary on it. This could be accidental because, after all, theatre has done that for many centuries anyway.
In “The Sun Will Rise”, writer Louise Moore superimposes the global state-of-affairs on the domestic, rather like looking at a map where a small dot has been circled and magnified so you can see the detail as well as the big picture. Moore matches the two with a comic flair that often punches, but generally follows comfortable formulas. Its optimistic message, though, certainly stands out amongst the relentless doom and gloom that is currently thrown at us from stage and screen. The clue is in the title.
The characters have more than their fair share of upsets and frustrations. Jobs are lost, promotions passed over, deceptions uncovered and liaisons stretched to breaking point. Yet despite its sixty-minute running time, the pace is laboured. Under Manisha Sondhi’s direction, there is an improvised feel that, instead of infusing freshness and immediacy, gives a sense of unpreparedness. The cast seldom gets the opportunity to dig their claws into their characters. Moore (who also appears as Danielle, Charlie’s long-suffering partner) has assembled a fine portfolio of sketches here, that are aching to be coloured in. That said, there are lovely moments that make us smile, and chew over, in equal measure. The monotone news reports are refracted in the mind of Ashley, satirising the sensationalism and fear-mongering ever-present in our media. The deadpan delivery sharpens the impact.
‘It’s okay not to be okay’ is the resounding message that is accompanied by like-minded platitudes and metaphors. But one thing is for certain (at least for the next five billion or so years), the sun will always rise. It is sometimes easy to forget, but this show is a welcome reminder. The nature of the festival dictates that this is a work in progress. We have had a bite, and the taste does leave us wanting more. Not just more of this particular piece, but more of the Bitesize Festival itself.
Reviewed on 14th July 2023
by Jonathan Evans
Photography courtesy City Lighthouse Theatre Company
