“any shortfall of originality is certainly made up for in sheer energy”
As we enter the auditorium, we are given a slip of paper: a brief curriculum vitae that summarises the ‘what not to write’ section of a Personal Statement guide book. It is a neat, cost-cutting alternative to offering a half-hearted cast list in lieu of a programme, and its off-beat, self-deprecating content sets the tone for what is to follow. “Not Quite” explores the pitfalls, faux-pas, trials and tribulations of two young women on their off-kilter, self-destructive quest to navigate the dreaded job interview.
It is a brave enterprise for, much like their characters, they are up against stiff competition. They have chosen a comedy situation well examined over the years by masters of the craft from Tony Hancock through to Ricky Gervais. But Cassie Symes and Georgina Thomas, who have written and perform this fast-paced show, certainly give it their all; and any shortfall of originality is certainly made up for in sheer energy.
The pair have a catchy camaraderie and chemistry that keeps the dialogue flowing as they briskly alternate between interviewer and interviewee. The current is strong enough not to get bogged down by the occasional predictability of the puns. Where it does run aground, though, is during some bizarre moments of physicality that don’t fit comfortably into the narrative. And there is often a self-consciousness that seeps through their armour of madcap comedy. But billed as a ‘work in progress preview’, in preparation for its debut at the Edinburgh Fringe this year, they can be forgiven. But I did long for a little more self-belief, especially with the huge encouragement they were receiving from this particular audience who seemed to be lapping it up. It would be interesting to see how the material stands up when thrown into the lion’s den of the Fringe, faced with a room full of strangers rather than friends.
But there is no denying the talents of Symes and Thomas. They are both top-notch character actors as they hotfoot through their cringe-making blunders and bloopers. Sometimes though, like their characters intent on making a good impression, they are guilty of trying too hard, which unsettles us. But when they relax, they certainly pass the test.
As a show fit for its debut at the Edinburgh Fringe, “Not Quite” is not quite ready. But I am more than confident it will be.
“Jonathan Hansler gives an imposing performance as the French philosopher, holding court as he meanders through his life and thoughts”
To condense the life of Michel de Montaigne into an entertaining hour’s show, complete with insightful quotations and amusing anecdotes, is no mean feat. A Renaissance humanist who has been criticised, appreciated and revered over the centuries, his ‘essays’ are a record of his thoughts and experiences, written and shaped as they came to him and giving rise to a new literary form; “As my mind roams, so does my style”. Born in 1533, he was witness to the decline of intellectual optimism in France – the Calvinist Reformation and the Wars of Religion – which rejected not only his education but also his fiercely active mind. After a career in the local justice system and the Bordeaux Parliament, and with inherited financial security, he retired from public life to the tower in his chateau to read, write and meditate. And this is where we meet ‘The First Modern Man’.
Writer, Michael Barry, lends us the role of an English visitor and in the intimate setting of his tower, Michel tells us about his upbringing, his travels, his cat, his family, his ailments… his mind flitting from one subject to another. The play mirrors his fluid train of thought, but the overall impression lacks shape. He manages to fill the hour to the brim with all the important stages of de Montaigne’s life and copious details from his writing, but the play strides from beginning to end with little contrast. Jonathan Hansler gives an imposing performance as the French philosopher, holding court as he meanders through his life and thoughts. His comic timing is excellent but the direction rushes past the possible natural dynamics of this prolix monologue.
Director, Helen Niland makes constructive use of the small stage space but the explanatory movement, props and technical effects detract from the words, which are what holds de Montaigne’s story together. The pace and busyness may be intended to reflect a mind running after itself but in spite of a few punctuated pauses, it often feels like a race against the clock. Both the lighting (Venus Raven) and sound (Julian Starr) are consistent with the action but become almost blatant in their unnecessary underlining of the script.
The title ‘The First Modern Man’, attributed to de Montaigne by twentieth century literary critic Erich Auerbach, certainly echoes the blogs and posts of today’s social media and what’s more, his scepticism, his position as nominal Catholic and his insistence on his own mediocrity point to the ‘dumbing down’ often referred to nowadays. His writing shows a man out of the context of his time, sensitive, open to the unusual and seeking security in the back room of his mind, but this perspective fails to come across. It is, nevertheless, a very watchable show, full of interesting contemplation and observation but would benefit from allowing de Montaigne’s character to grow in dimension or risk being a dramatised ‘Horrible Histories’ lesson.
