“it is always important and refreshing to see young people maximising the potential of theatrical interaction”
A company of ten dynamic young people tumble and strut into the Yard’s open, sports hall-esque space, and bring the whole room to vibrant life. Though structurally uneven and oddly paced, this did not detract from the warmth and talent of the ensemble, or the topic they explored.
Sex: the act which marks the shift from childhood to adulthood. Society is obsessed with it, yet we rarely speak constructively about it. Through a playful combination of short scenes, interspersed with monologues and movement pieces, these young people don’t only talk: they dance, laugh and roll around, confronting taboo and creating a really explosive, yet tender, theatrical result. Show creator James Blakey clearly brought out the strengths of each company member, and it was clear that they love and support one another.
Occasionally, the shift between different tones was a little clumsy. Humour was used inventively, and captured the individual voices of the ensemble, though sometimes it would have been braver to let a more heartfelt tone settle over the audience. Simon Jones’ movement direction had some beautiful moments, but often it felt a little interposed on the action. The final sequence, though mesmerising in places, could have used a little more choreographic order. That said, it is always important and refreshing to see young people maximising the potential of theatrical interaction and, for the most part, The Act did just that.
Charlie Damigos’ design revolved around the company changing in and out of a kooky mishmash of clothes on hanging rails, which they also incorporated as part of the set. It was colourful, fun and original, and great to see a company of young people be dressed inventively. The costumes complimented the haphazard, exploratory nature of the piece. Jamie Platt lit the unorthodox space exceptionally well, and add some crucial subtlety to the piece, as well as striking flashes of bright colour.
Although The Act would have benefited from some further honing and structuring, the creative ensemble still had an elegant cohesion which was a delight to witness. They challenged themselves with some quirky audience participation, incorporated music, and each had an individual spark which, when combined, made a fire.
“too much disparity of genres detracts from a powerful drama”
At a time when families are being forced to remodel, adapting to the shifting face of politics and economics, ‘Reared’ tells of intergenerational conflict and how, in spite of the struggle to balance the weight of the past with the prospect of the future, it has its rewards. Eileen is juggling preparations for a new baby, a mother-in-law with signs of dementia, a headstrong teenage daughter and a husband who seems unaware of the implications of all this. It explores the complexity of close-knit relationships, what is passed down and what is obscured – the told and the untold – and unpicks secrets which shed a new light on situations.
The Irish touch gives a poignancy to the importance of women in the household and the painful yet inevitable moment when the roles are reversed. John Fitzpatrick’s writing brings all these ideas together in a work which is dramatic, funny, sentimental and, occasionally, almost farcical.
The initiative by ‘bold & saucy theatre’ of a female-led company has created a well-balanced cast, each woman illustrating the particular strengths and weaknesses of her age, with sympathetic supporting male characters. Shelley Atkinson as Eileen depicts the fortitude of the ‘sandwich generation’, coping with both parents and children, and skilfully shows her ability to be caring, practical and vulnerable. The sensitive subject of dementia is successfully reflected in Paddy Glynn’s performance as Nora, flitting between moments of confusion and lucidity, clinging on to her matriarchal status. Caitlin, excellently portrayed by Danielle Philips, represents the dilemmas and pressures of the young along with her friend, Colin (Rohan Nedd), who we warm to as he clumsily tries to do the right thing in an entanglement beyond his maturity. Daniel Crossley plays a likeable Stuart who appears distracted from reality, busying himself with useful jobs around the house.
The homely familiarity of the detailed set (Sammy Dowson) and the proximity of the audience to the stage increase the involvement with the actors. Jamie Platt’s lighting design and the sound by Dominic Kennedy add colour to the action, giving a quasi cinematic feel to the changes of scene. Sarah Davey-Hull’s mindful direction produces some intense and touching scenes – Eileen and Caitlin’s moving conversation, Nora’s developing dementia or Colin’s awkward eagerness – but it is difficult to coherently follow through so many threads of a story in ninety minutes.
‘Reared’ alludes to many social issues but the inclusion of such a quantity of relevant material means that we lose the depth of any one narrative. There is an overall sense of unevenness in the script and oddly discordant reactions at some key moments; seeds are sown and picked up later rather than unfolding, certain personal insights come across as light-hearted asides and a couple of build-ups of tension are left in the air. A contrast of emotions is always stimulating in the theatre but too much disparity of genres detracts from a powerful drama.
