“They balance sincerity and comedy throughout, allowing the audience a laugh even when the situation is heartbreakingly hopeless”
With a title like that and a poster of a lone bear standing tall and magnificent (in a space suit), it would be easy to assume the general plot outline – quirky man goes for gold, sacrifices everything, comes out victorious. The American dream is real, people! You just have to sacrifice everything! And apparently buy a space suit. And be a bear…
‘Neck or Nothing’ follows the story of Jens (James Murfitt), a man with a dream to make the ultimate contribution to humankind; to be the hero the world needs. And he plans on doing this whilst living in his brother Frank’s garage, being funded by his wife Martha (Katy Daghorn) who pulls double shifts at a failing bakery.
Co-writers and directors Christopher Neels and Callum Cameron have created a character with all the trappings of a victorious underdog: obsessive single-mindedness, a plan that seems completely ridiculous, a loving family whose faith begins to waver, and a small town that laughs at his brilliance. But rather than taking it to its Rocky Balboa conclusion, instead they highlight the sad reality of this trope, and of the inevitable damage caused by self-inflicted isolation, and toxic masculinity in general.
Murfitt, Daghorn and North all deliver enthusiastic and engaging performances. They balance sincerity and comedy throughout, allowing the audience a laugh even when the situation is heartbreakingly hopeless. Their characters are all surprisingly fleshed out – another twist on the classic underdog story, where all other characters beside the lead are usually kept in soft-focus.
Costume and set design (Sophia Pardon) are efficient but good fun – the star of the show is of course Jens’ ‘invention’- a home-made ‘ironman’ costume, cupcake tray serving well as a steel six-pack and cycling knee pads making excellent superhero-square shoulders. The video and lighting design (Rachel Sampley) does well to create various spaces on a small stage without overcomplicating and distracting from the main event.
In all, Neels and Cameron have succeeded in creating an off-beat comedy with just enough heart to get their message across, but not so much that you want to look away for sheer embarrassment. I look forward to seeing what Fledgling Theatre Co do next.
“A quiet night in the West End this is not. And quite right too. For what could be more festive than death, deceit and intrigue?”
Messrs William Burke and Hare have passed into mythology as notorious grave robbers who turned a profit in 1820s Scotland flogging corpses to medical schools. Tom Wentworth’s comic script revisits their tale, claiming to be an ‘objective’ rendering, ‘rooted firmly in reality’. But those seeking an authoritative retelling of Burke and Hare’s story need not apply. This is history played for laughs – a mission very successfully achieved.
Indeed, there’s frank admission of the history’s slipperiness throughout. The opening scene sees the actors in and out of character, clamouring to rehabilitate the reputations of their respective roles. This also serves as a handy introduction to this micro-cast of three.
Such lean staffing certainly leaves nowhere to hide, but this strong ensemble pull it off. Impeccable comic timing delivers laugh-out-loud moments, with Alex Parry and Hayden Wood especially effective as the dastardly duo.
Also strong, Katy Daghorn as, well, almost everyone else, at times comes off a touch mannered. As with all the actors here, her ready command of accents is impressive but her physicality can feel awkward. This is a small niggle, though, given the dexterity shown by this apparently tireless trio in what must be an exhausting performance.
The cast canter through a merry repertoire of Victorian Edinburgh’s finest. Indeed, real fun is had with the limits of a three-person cast in a confined space. One gag sees the cast stumped when they realise that, all on stage, they are without a corpse. Considerable charm is applied by Wood and a conscript found: sit on the front row at your peril.
This quip wears thinner in an extended sequence in the second half, but Parry’s shattering performance of every member of an extended family group is nonetheless impressive. This retold joke, though, perhaps eats into time that might have been better spent unravelling the tail-end of the narrative a little more; the conclusion is upon us with little warning and the outcome of the eventual criminal trial feels rushed.
Every resource is put to work to create atmosphere and place in this tiny theatre. This includes intelligent uses of music and sound, such as the metronome set ticking as we wait for yet another lodger to shuffle off this mortal coil. Mention must also be made of the cast’s really beautifully executed close harmonies, from drinking songs to ballads. Lighting, too, is neat, variously suggesting the fug of an Edinburgh street, a sterile anatomy lecture hall and the snug boarding house amongst others.
All in all, Burke and Hare offers surprising levels of merriment for a play about resurrection men. There is balance here – we’re given real menace leading up to and pathos at the death of one key player – but the night rattles along at a fair pace. A quiet night in the West End this is not. And quite right too. For what could be more festive than death, deceit and intrigue?