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Easy

Blue Elephant Theatre

Reviewed – 14th November 2019

★★★

“an important play that intuitively understands the struggles of being a teenager in a toxic, image-focused society”

Alice is sixteen and eagerly waiting for something exciting to happen to her. Something that involves Fit Jamie from maths; something that proves she isn’t being left behind. But when something does happen, it is neither as exciting, nor as good, as she hoped it would be. It is something difficult. Something with consequences.

Amy Blakelock’s examination of social media, sex and teenage anxiety has all the elements of a good story: a likeable protagonist, a compelling narrative, and a shocking twist. Blakelock tells this story using an authentic teenage voice. Aspects sound a little artificial, but are mostly pertinent and always entertaining. The early parts of her script are full of faux maturity, sprinkled with clichés about how GCSEs can’t be all that – ‘Dad only got one O Level, and that was in woodwork’ – and the definitive list of what men (read: teenage boys) want. Blakelock effectively deepens these themes as the story grows darker, forcing the audience to reflect on the damage that such highly promoted ideals can do.

Robyn Wilson is endearing as Alice, full of energy and openness that makes her easy to connect with. Her delivery is subtly humorous in its naïveté, but still ripples with emotional honesty. The highlight of Wilson’s performance is her portrayal of Alice’s response to the event, in which these ripples become torrents that chill the observer.

Another aspect that deserves praise is Verity Johnson’s set, which acts as a clever metaphor for the themes of openness and shame. Four white platforms and a set of lockers become hiding places for painful aspects of the past that lie in wait until Alice is ready to reclaim them.

The main issue is the pace of the show: whilst it creates a character arc and a satisfying conclusion, this comes at the expense of close examination. There are several aspects of this story that I feel could have been expanded on. It would have been interesting, for example, to see the consequences faced not only by Alice, but by the perpetrators. Even this moment in Alice’s story feels a little vague, as her interactions with teachers, counsellors and the police pass us by in quick succession. I think it would have been beneficial to interrogate how schools deal with events like this, and whether or not the outcome really reflects the seriousness of the crime. It would also have explained Alice’s new found wisdom, which Wilson beautifully exhibits in the final scene.

Despite its flaws, Easy is an important play that intuitively understands the struggles of being a teenager in a toxic, image-focused society. Whilst it may seem to be a play for teenage girls about teenage girls, it is key that this kind of story reaches everyone, so that we can, as a whole, understand the implications of this toxicity on young people today.

Reviewed by Harriet Corke

Photography by Will Alder

Easy

Blue Elephant Theatre until 23rd November

Previously reviewed at this venue:

Sisyphus Distressing | ★★★★ | March 2018

Boxman | ★★★★ | July 2018

Alice: The Lost Chapter | ★★★★★ | October 2018

My Brother’s Drug | ★★★ | October 2018

Bost Uni Plues | ★★★★ | November 2018

Canary | ★★★½ | November 2018

Nofilter | ★★★ | November 2018

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Call it a Day

The Yard Theatre

Reviewed – 30th January 2019

★★★

“The concept is certainly intriguing and it provides the platform for unique storytelling”

Greg Wohead’s new play, debuting at The Yard, explores a real life, and reimagined, meeting between Wohead, his then girlfriend, and an Amish couple. Whilst it’s a clever concept, with exciting ideas and some very amusing moments, it lacks the drama to carry us through to the end.

From the outset, this production promises to be something different. Wohead speaks in Pennsylvanian Dutch into a microphone, the English translation projected behind him. He monologues for a while, setting up the scene we are about to watch. We then proceed to watch this scene on loop, though each scene differs through their partly improvised nature, managing to discuss topics – from apple butter to killing pigs – through continually altering perspectives. What makes each scene initially interesting is not only the improvised elements, but also the fact the actors take it in turn to play each of the four roles, rotating round the large kitchen table that is the centre piece of the stage.

The performances by Greg Wohead, Tim Bromage, Mireya Lucio and Amelia Stubberfield were strong – they all felt at ease on stage and bought charm and a nice level of comedy to their performances. As the play progressives, the four performers are given the opportunity to push out of their natural performances into moments of absurdity, like sneezing coins or suddenly growing long, plastic arms. This layered the scenes, giving them variation whilst at the same time taking them far away from their initial realist nature. The play really found its feet in the moments when the performers sparked off one another.

However, there were elements that slowed the piece down, giving it a distinct lull in action. These tended to occur during the monologues, which perhaps were left to unravel for too long and with too little payoff. For example, whilst the opening monologue was impressive in its exciting use of theatre technology, it became repetitive, resulting in it being frustrating to listen to. The repetitive nature of the play in general occasionally provided comedy but also somewhat held it back; not every loop of the scene was executed with enough variation, and there’s only so much we are willing to care about apple butter.

The concept is certainly intriguing and it provides the platform for unique storytelling; being based off Wohead’s real life meeting with an Amish couple, the play is offered a sense of genuine authenticity. The themes it approaches, such as our connection with one another, particularly in a climate in which we are encouraged to disconnect from ‘the other’, are dealt with solidly and clearly. It’s the plays nature that ultimately lets it down a little. Improvised moments have the potential to bring fresh energy to the piece, and I’ve no doubt they contribute to the actors’ natural performances, but certain points felt like they lacked enough drama to make me care. Contextually, Call it a Day locates itself in the perfect time, and I think with some more fine-tuning, it has significant potential.

Blue Elephant Theatre

Reviewed – 14th November 2019

★★★

“an important play that intuitively understands the struggles of being a teenager in a toxic, image-focused society”

Another aspect that deserves praise is Verity Johnson’s set, which acts as a clever metaphor for the themes of openness and shame. Four white platforms and a set of lockers become hiding places for painful aspects of the past that lie in wait until Alice is ready to reclaim them.

Reviewed by Harriet Corke

Photography by Will Alder

Easy

Blue Elephant Theatre until 23rd November

Previously reviewed at this venue:

The Yard Theatre

Reviewed – 30th January 2019

★★★

“The concept is certainly intriguing and it provides the platform for unique storytelling”

Greg Wohead’s new play, debuting at The Yard, explores a real life, and reimagined, meeting between Wohead, his then girlfriend, and an Amish couple. Whilst it’s a clever concept, with exciting ideas and some very amusing moments, it lacks the drama to carry us through to the end.

Reviewed by Tobias Graham

Photography by Maurizio Martorana

Call it a Day

The Yard Theatre until 2nd February as part of Now 19 Festival

Last ten shows reviewed at this venue: