“a quality script, beautifully delivered and charmingly performed”
Coincidence creates connection in this sweet and gentle tale of strangers living in an anonymous city. Julia Cranney’s play tells the story of Daniel and Ava, two unlikely companions dealing with the loneliness of modern life and finding comfort in a chance encounter. The second show, from the already award-winning Pennyworth Productions, is a delicate comedy attempting to address the loneliness of modern living. A gentle laugh rather than a guffaw.
This is perfect 6’o’clock viewing – a good cup of coffee at the end of the day. Endearing from the outset, the play presents our two abandoned souls with warmth and humour, never cloying or obvious. The production plays to the venue’s strengths, keeping it simple and open, but not un-sophisticated. The action of the play is mainly told through two voice overs, which is insightful but not over bearing, and Richard Speir’s direction carefully balances the blossoming friendship. The overall effect is very slick, but most importantly frees the actors to really nuance their performances.
As a two hander, the play rests on the strength of the cast and both performers more than live up to the task. Writer Julia Cranney is all too recognisable as the isolated Ava, both desperate and terrified to reach out to others. Nervy and vulnerable, Cranney’s is equally matched by the stoic and easy going Daniel, a man dealing with the aftermath a family breakdown. In lesser hands, this character could have easily been seedy, but Simon Mattacks is brilliant in his portrayal – instantly reassuring and charismatic. The contrast between the world-weary and the naïve have you really rooting for these characters to open up to each other from the get go, and the pay off, though small, is striking.
The only slight criticism I can offer is a scene where Mattacks performs with his back to the audience. While I can see the narrative sense and it is in-keeping with the tone of the piece, it shuts Daniel out of the intimacy that Speir’s has built between the audience and the performers. Even that slight barrier, made me feel like I was missing something from the scene as a whole. That said, it gives Cranney a real chance to articulate Ava’s dilemma and Mattacks recovers more than admirably.
I really liked this show. While it may not be the flashiest or most spectacular show on the Fringe this season, what it does it does really – a quality script, beautifully delivered and charmingly performed. This is a company that clearly takes a lot of pride in their work and it certainly pays off – this is new writing at its best. A strong and safe second outing for a new company that I would highly recommend.
Reviewed for thespyinthestalls.com
MOMENTS
is at the Hen & Chickens Theatre on 26th & 27th August as part of the Camden Fringe Festival
“this piece has the potential to quickly become a powerful, heartbreaking performance”
It is with a heavy heart that I write this review. Aisha deals with a topic area that is horrific. It is a subject area, we tactfully forget or at least I do – underage arranged marriages. Aisha is 14 when she is sold to her distant cousin to marry. Rape, slavery and torture became part of Aisha’s life the moment she was sold. ‘He burnt all my clothes the first week I lived here,’ Aisha discloses to us. He wanted for her to have no possessions of her own, but she often refers to her husband as her ‘possessor’. As you may think, this is far from a willing marriage. Thus, the topic area is heavy. It is frightening and it is heartbreaking. But I felt this play’s attempt to open this Pandora’s box was only satisfactory.
With the right tweaks; changes in direction, characters and at parts the scripts, this piece has the potential to quickly become a powerful, heartbreaking performance. The way this topic deserves to be executed. Aisha needed to take it even further. It needed to become a reflection for us, the audience, we who quietly sit as witnesses to the monstrosities unfolding before our very eyes. At times, in this piece you could see through the actor’s actions. They were at times stiff and lacked intention. However, the intimacy of the Hen and Chickens theatre worked perfectly for the impact this piece aimed to achieve.
With a fantastically detailed set we are transported into this hellish world. We are often left with a sense of helplessness, heartbreak as we intently listen to Laura Adebisi’s heartfelt and emotional monologues. Aisha is Laura’s debut professional Theatre role and this young actress shows much promise. She beautifully and tragically played this abused young girl. Most of the time, I was left in sadness and pain as Laura spoke with such poetic detail about the abuse she had had to endure for three years. This performance was a mammoth task for Laura, she is present at all times and never once did I believe she was anyone else but Aisha. Admittedly, there were moments which needed refining, but I cannot commend enough Laura’s performance in tackling such a complex and difficult character.
Likewise, Sabrina Richmond as Aisha’s mother brought a complex and beautifully tragic performance before our very eyes. I say tragic because of the relationship Aisha and her mother depicted on stage. These moments between them had moments of love, but not the love we often see on stage. This was much more complex because her mom essentially sells Aisha off to her ‘possessor’ in marriage. But, by the end of the piece I could understand why a mother could do this to their daughter; however barbaric it may seem.
Fear could have been pushed further and really impact us, if the character of Aisha’s Husband was better cast. For such a difficult, complex and monstrous character; the performance of Ayo Oyelakin left me with much more to be desired. I could see in his performance that he still felt awkward at playing such a monstrous person. His performance lacked depth, truth and dare I say a human quality. The moment the actor entered on stage, he lacked the presence of a possessor; of a human being capable of committing acts as he has previously been described by Aisha. A massive turn off.
I would also like to celebrate Lloyd Morris and Olivia Valler-Feltham’s performances. Lloyd as Mr. White and Olivia as the Support Worker. On stage we compare Lloyd’s performance to Ayo as the possessor and I feel as though the roles should have been reserved. The subtlety Lloyd brought to his character Mr. White really left me wanting more. In a positive way.
Oliva on the other hand did fantastically well with what she was given and unfortunately it wasn’t much by that of the script. As for what the character represented within this piece I am unsure. What comment was the director making, when the support worker disclosed to Aisha (her client) that she too had been abused by a priest? This was for me an unforgivable sin committed by this piece. This character, in my opinion, was really misused.
Unfortunately, this wasn’t the only one. Alexander Lincoln’s performance of Dr Valge was satisfactory. It felt like his character was being awkwardly used in an attempt to lift the atmosphere. Unnecessary. My opinion aside, the comedic relief Dr Valge was offering wasn’t the medicine we needed. His part it wasn’t done with the conviction it needed and too many problems arose in my mind with the writing and direction.
Aisha was a difficult piece to watch; regrettably, not only because of the suffering on stage. A play like this needed to make me leave the theatre seriously thinking about Aisha’s story and the 15 million girls a year married as children. Sadly, I didn’t.
Reviewed by Daniel Correia
Aisha
is at the Hen & Chickens Theatre until 24th June
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