“A 4 star performance of a 1970’s play with thought-provoking and controversial content”
Dennis Potter, who died in 1994, was an acclaimed playwright best known for his BBC TV serials Pennies From Heaven and The Singing Detective. In 1976 he wrote Brimstone and Treacle which gets a revival at the popular Hope Theatre, Islington.
The original television play was withdrawn shortly before transmission due it containing scenes that were deemed too offensive to be shown in the 70’s. It was eventually broadcast some 11 years later though it premiered on stage in 1977 and a film version starring Sting was released in 1982.
The question to be posed today is will it be as shocking as it was felt to be 40 years ago?
In short the answer is yes. It is without doubt a fine piece of work expertly directed by the award winning Matthew Parker but it carries a warning – there are disturbing scenes of sexual violence and extreme racism which many may find offensive.
The play is about Martin, a young man who thinks he’s the devil. He visits Mr & Mrs Bates, a couple caring for their bedridden daughter Pattie who was a victim of a road accident 2 years ago that left her brain damaged and profoundly disabled. The room is set in a suburb of North London and the play takes place over two days in September 1977.
The set designed by Rachael Ryan is simple yet it reflects perfectly the era with its brown patterned wallpaper, coffee set, crochet blanket and utility furniture. The performance is enhanced by devilish sound and flickering lights.
Mrs Bates has taken the larger share of the caring. She has dedicated the last two years to care for her daughter and has an optimistic view of her recovery and that she will return to her normal self in time. Her husband in contrast takes a more cynical view of her prognosis and seems resigned to her remaining in her current state. He refers unlovingly to her as ‘a cabbage’.
Martin cleverly makes his way into the Bates’ home claiming to know Pattie and that once had been her fiancé. Whilst there is some doubting by the Bates of his existence in their daughter’s life they accept his offer of care and the trouble soon begins. Having gained their confidence through his nicer than nice approach, left alone he rapes her. It makes for uncomfortable viewing.
The performance demanded attention throughout and the concluding scene made you leave thinking just how that ending came about. The clues to that were hidden earlier in the dialogue.
Fergus Leatham plays the role of Martin with assurance. He leaves the viewer feeling uncomfortable in his presence and his asides to the audience reinforce the feeling he is playing the role of a very unpleasant man.
Paul Clayton portrays the bullish Mr Bates well and Stephanie Beattie is superb as the downtrodden Mrs Bates. Olivia Beardsley has the difficult task of playing Pattie. She maintains a believable brain injured patient throughout the play. Her jerky and involuntary writhing movements were expertly acted.
The audience on our review night appeared to thoroughly enjoy their night at the theatre. At the end of the performance there was an enthusiastic applause which continued for some time until the cast returned for a second curtain call. It was a four star performance by a talented cast and whilst recommended it is a show for those with a strong disposition.
“A painfully realistic portrayal of the harshness of real life endured by so many”
The working partnership of writer Leon Fleming and director Scott le Crass return with this bleak two-hander focusing on often ignored, mental health and modern day socio-economic issues.
Set in and around a Birmingham tower block, it’s a gritty real life tale of the hardships facing ‘Him’ (James Clay) and ‘Her’ (Helen Budge) – a close brother and sister both battling against illness, living on the breadline and a seemingly uncaring system.
The story flits between the childhood of the siblings, the sneaky Lambrini swigging sessions (hastily disguised with a Polo mint) discussing their hopes and dreams for later life, to present day – ‘Her’ now an unemployed mother of two young children struggling to cope and ‘Him’ also jobless and battling with mental health issues and the stigma that comes with them. Their mother, with her own complex issues adding to the ever increasing burden on the pair.
James Clay and Helen Budge are very believable siblings; slightly bossy older sister, insecure younger brother, relentless Mickey taking of one another, petty rivalries, but always a deep and caring, ever conquering love for one another.
Clay’s mannerisms and acting throughout are signs of an excellently researched piece. The constant awkwardness of his hands, wringing and grasping; his ever present knack of finding humour in adversity masking his inner sadness; the pained facial expressions, all very realistic traits of a young life being lost to the demons of anxiety and depression.
Budge as a mouthy mother and outspoken sister is equally charming. You really start to feel for her, struggling to cope and to make ends meet. We share her happiness and laughter and feel her pain as it finally all gets too much for her.
A stark set (Justin Williams and Jonny Rust) comprising of drab concrete paving and four featureless cubes made to resemble concrete blocks worked perfectly. Simply rearranged to create everything from a soulless jobcentre to a hospital bed or even a loving home – their simplicity belies their adaptability. Symbolic to the harshness of life, yet also with a hidden beauty.
Kicked in the Sh*tter makes you really think about people. Real people. The situations portrayed in Fleming’s plot are fact for millions around the country yet all too often the only air time they ever get portrays them all as spongers and layabouts. Our brother and sister are neither, they are where they are because of the hand life has dealt them – desperate for help, but faced with a black and white social security system that judges and rarely sees shades of grey.
It’s a painfully realistic portrayal of the harshness of real life endured by so many and thus deserves a larger audience; a perfect piece to be adapted for a television drama.
A disappointing turn out to the show I saw, perhaps the combined pairing of mental health and social economics a bit ‘too much’ for some, or they have preconceived ideas jaded by frivolous Channel 5 documentaries. I would implore you to go and see this show with an open mind. You will see things in a light you wouldn’t expect. You will be moved and touched.
