“Both actors have an ability to really make the audience empathise with their characters and the truth in their performances is beautiful to watch”
The King’s Head Theatre is currently presenting a season of work by female playwrights, in what they say is a “direct response to the under-representation of female voices on stage”. Directed by Helena Jackson, Baby Box, one of the featured plays, explores the relationship of sisters Chloe and Jamie and follows the highs and lows they face from their teens up to their late twenties.
The overall subject matter is quite dark, with the disease endometriosis being at the forefront of the piece. Considering this, Laura McGrady (both writer and actor in the part of Jamie) has done a good job of ensuring that the serious subjects are presented in a sensitive, but light-hearted way, with some engaging, funny lines scattered throughout.
However, some of the most engaging moments in the piece occur not in the comedy, but when the two actors are portraying pain and heartache. Sarah Cullum (Chloe) delivers a powerful performance when she portrays the physical pain associated with endometriosis, as does Laura McGrady when her character opens up about her sexuality. Both actors have an ability to really make the audience empathise with their characters and the truth in their performances is beautiful to watch.
The simple set consists primarily of a bed on wheels, which is used regularly throughout the piece. A lot of the costume changes take place on stage, but occur in a seamless, efficient way. Not once did I feel disengaged from the piece, which has the potential to happen with onstage costume changes.
Sleepless Theatre Company have triumphed in bringing to light subjects which some may consider taboo and have created a touching piece of theatre. We see two sisters face adversities that lead them to reflect upon what it is to be a woman and whether they are conforming to what is considered “normal”. At the heart of the piece is a representation of the unconditional bond and special relationship shared by sisters, albeit tested at times, which is both moving and uplifting to witness.
“the physical use of space helped the pace of the script match the range of emotions spilling across the stage”
Tonight’s ‘Tumble Tuck’ is the opening show in the ‘Who Runs The World?’ season at the King’s Head Theatre, showcasing female playwrights from now until May 12th, and what a brilliant way to start!
I am a singularly uncompetitive person. The more pressure applied, the less interest I have in the outcome. This has never endeared me to team sports, I prefer to walk for miles and enjoy the view, or swim alone for lengths, clearing my mind, meditating, and making my body stronger. So arriving in a minimalist studio to the sounds of a lapping pool with dappled blue lights made me feel very at home.
Daisy, played by playwright Sarah Milton, also likes to swim, but she is on the verge of medal. She understands she needs to work hard, she knows what is required of her, she’s OK with the idea of winning because it is an uncomplicated concept. It isn’t quite so simple for her to reconcile ‘doing your best’ with ‘being the best’, especially as she’s a little confused and a lot undecided about what ‘success’ may actually be.
There is no set, no cast beyond Daisy and very few props. The audience is on three sides of the stage where the storytelling unfolds through the blunt, funny, and honest recollection of memories, and re-enacted conversations that are both hilarious yet simultaneously heartbreaking. This strong, brave performance carefully reveals the events of Daisy’s life and slowly weaves them together.
As Daisy becomes more aware of the world around her, she wonders more about success. In sport and in life. Past experiences and present challenges can be elusive things to conquer, and perhaps not always as important as participation, or happiness.
In a very personal and bare space the lighting (Rory Beaton) and sound (Harry Blake) help to set an atmosphere that prevented Daisy’s narrative from ever seeming stark, and the physical use of space helped the pace of the script match the range of emotions spilling across the stage.
I found writer/performer, Sarah Milton both confident and engaging as a young woman trying to make sense of relationships and responsibilities. She captured the audience from the very beginning and ended with a standing ovation.
Touching on childhood friendships, mother-daughter relationships, first love, trust and rivalry, this show will resonate with anyone who remembers how confusing and complicated growing up can be.
