Tag Archives: Golden Goose Theatre

SCENES WITH GIRLS

★★★

Golden Goose Theatre

SCENES WITH GIRLS

Golden Goose Theatre

★★★

“this production pulls on every bit of substance and brightness that it can”

Female friendship. It’s a bit of a media minefield, if we’re honest — full of portrayals of women betraying one another, being pitted against each other, or some combination thereof. Then there are the bubblegum and candy-floss versions that aim to act as though women never fall victim to the societal conditioning that causes them to view each other as competition. Miriam Battye’s Scenes with Girls aims to walk the tightrope between these worlds, showing us women who are trying, ostensibly, to fight the conditioning that tells them they need men in their lives, that it’s acceptable to abandon your friendships when a boy comes along offering you not just attention, but sex as well. It’s a shame then, that the text never really manages to make us believe in the relationships that we’re observing.

Originally premiering at the Royal Court in 2020, Scenes with Girls follows Lou and Tosh, two best friends who are determined to buck what they refer to as “the narrative” — effectively, the idea that they are meant to centre boys and romance in their lives. They take two very different approaches to the matter, Lou’s being more “practical” and Tosh’s more “theoretical” — at least, according to Lou, which seems to make Tosh bristle. Lou views sex through what we would probably view as a traditionally masculine lens. She talks on and on about her various exploits, while consistently congratulating herself on her personal detachment from the act itself. Tosh, however, has seemingly taken something of a vow of celibacy, though she never says it in so many words. This, the relationship with Lou, is enough for her. It’s all that matters. If only Lou could understand it, too. Occasionally, their former flatmate Fran makes appearances. She’s been coaxed to the dark side, as it were — dating a man that Lou and Tosh clearly both view as milquetoast at best. They’re needlessly cruel about Fran, saying awful things about her behind her back, and every time she goes to the toilet. The whole situation feels like a strangely low-stakes powder keg, primed for explosion.

But whatever the story may lack, this production pulls on every bit of substance and brightness that it can. As Tosh, Lyndsey Ruiz is a gorgeous balance of self assuredness and latent rage. She loves Lou desperately and just wants to be loved in return. Hannah Renar’s Lou is a lovely foil. She almost never stands still, as though there’s something inside of her, just aching for release. But she plays her distraction, her mild disinterest in Tosh with skilful subtlety. Eli Rose-Cooper’s Fran, though not leant a terrible amount of complexity in the text, is lovely as well — we spend very little time with her, but we see her inner conflict, how much she wants to be part of what Tosh and Lou share, how much she still needs these women in her life. These accomplished performances are complimented by some well-considered music choices, as well as very clever lighting design by Phil Hamilton.

All in all, one leaves the theatre wishing that the topics at hand were better explored. They’re important, relevant, and ones that we rarely see represented with the appropriate complexity on stage or screen. That being said, this version of Scenes with Girls is well worth a watch.



SCENES WITH GIRLS

Golden Goose Theatre

Reviewed on 25th April 2025

by Stacey Cullen

Photography by Herbie Barlow

 

 

 

 


 

 

 

Previously reviewed at this venue:

THE LIFE AND DEATH OF MARTIN LUTHER KING | ★★★ | January 2025
PAST TENTS | ★★★ | October 2024
JOCK | ★★½ | June 2024
STREET SONGS: A BUSKER’S TALE | ★★★★ | April 2024
WHAT I REALLY THINK OF MY HUSBAND | ★★★ | November 2023
STRANGERS IN BETWEEN | ★★★★ | September 2023

SCENES WITH GIRLS

SCENES WITH GIRLS

SCENES WITH GIRLS

PAST TENTS

★★★

Golden Goose Theatre

PAST TENTS at the Golden Goose Theatre

★★★

“The actors, as writers, producers and performers, are committed and sincere.”

Alan and Justin take a lot of getting used to. Alan, in particular, is a rancid bundle of petty aggression and intolerance.

He literally crashes into a campsite having totalled his car shortly after admitting on the phone to his estranged wife that he’s also ruined his life.

There to greet him is irrepressible Justin, a campsite veteran of six years. With his Hawaiian shirt, endless optimism, cheer-up-mate schtick and his (unseen) family Justin is set for life.

Alan takes out his bad day on the indefatigable Justin (a versatile David J Keogh) whose relentless cheer begins to grate with the same nails-on-chalkboard efficiency as Alan’s shouty malice.

It is close to unbearable for much of the first half hour. The production comes at you like a pub drunk: loud, aggressive and unbalanced. The sub Carry On innuendoes and gross-out indulgences are relentless. (Seth Jones, as Alan, has a remarkable repertoire of gag reflexes and he plays them like a virtuoso.)

However, it settles. Be assured. The production finds a rhythm and a purpose. The campsite is many things, not least of which is a bleak circus where men become clowns and fall from grace into buckets of goo. And, with that in mind, the drama begins to take shape.

While Justin remains disturbingly cheery, newbie Alan must endure degradations beyond the measure of men in order to be reduced to his core. Hyper-active Jones, also the director, shows an unending capacity to manufacture his own discomforts. Hats off to him.

Also, a special mention for Mark Keegan as Virgil, a kind of camp commandant, with a natty line in off-colour banter. He shows a deft touch that allows the comedy to breathe.

The script is not embarrassed about revealing its secrets either. Spoilers litter the campsite like autumn leaves. At one point Alan cites a Hollywood actor whose mere mention prefigures an upcoming twist of an emotional subplot. No worries – we were all thinking it – but we’re just a little shocked he gave the game away with no obvious benefit.

But what we have beneath this endless bickering is an earnest attempt to examine the capacity of men to go to any lengths to avoid talking about their mental health.

Even as far as camping in the rain.

In that context, Justin and Alan are made for each other. In one plausible interpretation, the campsite is a depressed man’s mind – all denial, self-loathing, humiliations and anguish. No wonder the writers – Keogh and Jones themselves – keep the trousers dropping and the slapstick sticky.

Because when the truth comes, bespeckled though it may be with bodily fluids, it does hit home. The grand reveal is neat, satisfying and, if not shocking – the script having given up the goods too early – then certainly played for a pathos that works.

This is a public health advisory of sorts, albeit one presented on a stage dressed with an elephantine amount of sheep dung. Maybe don’t bring your granny – but do bring your dad.

The actors, as writers, producers and performers, are committed and sincere. They give a lot in energetic performances that are worthy of applause.

This is an evening with a grand appetite, a big heart and an important mission. It might even save a life. Beat that.


PAST TENTS at the Golden Goose Theatre

Reviewed on 3rd October 2024

by Giles Broadbent

Photography by Maria Kennedy

 

 

 

 


 

 

 

 

 

Previously reviewed at this venue:

JOCK | ★★½ | June 2024
STREET SONGS: A BUSKER’S TALE | ★★★★ | April 2024
WHAT I REALLY THINK OF MY HUSBAND | ★★★ | November 2023
STRANGERS IN BETWEEN | ★★★★ | September 2023

PAST TENTS

PAST TENTS

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