“there is a lack of urgency and of any real feeling of menace or darkness”
The Secret Keeper is billed as ‘a political fairytale for adults – with songs, magpies and a murderous gothic heart.’ I’m not sure it quite lives up to the description, but there are certainly things to like about Angela Clerkin’s script. Clerkin also takes the central role as The Good Daughter and co-directs with Lucy J Skilbeck.
The Good Daughter becomes a Secret Keeper for the inhabitants of the very odd town where she lives after her father confides his deepest secret to her and she feels wonderful afterwards. Soon everyone from the chemist to the vicar are flocking to give her their secrets. She swears ‘cross my heart and hope to die,’ never to tell. But what should she do when a murder is confessed?
Niall Ashdown, Hazel Maycock and Anne Odeke play all the other characters and portray some genuinely very funny moments. There are also some good songs and some weird business with magpies signifying secrets, presumably because of the line in the rhyme, ‘seven for a secret never to be told.’ Other people’s secrets can be a burden and the pressure to tell can be immense. In pushing their daughter to become the Secret Keeper, her parents are putting her into the centre of the very adult deceits and lies of the town. She hears things a child should not hear. The Good Daughter’s dilemma, to tell or not to tell, is perhaps reminiscent of the questions facing whistleblowers like Chelsea Manning.
But there is a lack of urgency and of any real feeling of menace or darkness. The set (Simon Vincenzi) is filled with haze, creating a mysterious atmosphere, but the story-telling is meandering and there are loose ends and lost opportunities – why is the father a doll’s house maker? Why is salt such an important commodity? The play feels too long, as though a short story has been stretched, and with some judicious editing it would work much better.
“a multi-layered and contemporarily engaging piece of art”
For those who have read up on their gender theory, you will know that once you begin you are lost in a labyrinth of questions; more and more questions that eventually guide you to a new reality. A new understanding of the world around you.
Bullish, by Milk Presents Theatre Company, undoubtedly tackled this beast head-on. In this world of Greek myths, labyrinths and minotaurs we are taken on a journey of the complexities of gender identity, and in the fluid negotiation of gender transition. Created and performed by artists who identify as Trans, non-binary and gender-fluid we can now thankfully hear the voice of those historically made voiceless.
Imaginative, hilarious and poignant this production is a must-see. Not only because of its serious subject area but also because Bullish is a fantastic theatrical performance in its own right. Lucy Skilbeck is evidently both a skilled writer and director who is able to create a multi-layered and contemporarily engaging piece of art. Imbued with humour and a serious undertone, Skilbeck’s poetic writing left me wanting more.
The most encouraging aspect of this production was how all the different theatrical elements really collaborated with one another. Joshua Pharo’s lighting design and Emma Baily’s design were truly magnificent, without which the piece would not have been the same. Whilst, the stage design was minimalistic the cast knew how to navigate the space, adding a beauty to this minimalism and with the brilliant lighting design, it added a polished high quality aesthetic to this production.
Again, the costumes were simple but effective. Often using one or two items of clothing to represent a character this simple use of costume to multi-role worked brilliantly because of the way the piece incorporated these costume changes often making a point and bringing attention to this theatrical device.
I often found myself laughing or tapping my feet in joy to the wacky and fantastical musical numbers that David Lewington composed. The sound design and composition of the songs were flawless. It was really great that each cast member was able to show what they were made of through a character song that just added the cherry on the top to this already delicious dish.
Of course, such a production could not have been achieved if it wasn’t for the talented and gender-fierce ensemble. Their choral storytelling really demonstrated this casts’ ability to work as an ensemble; holding us in the palm of their hand and bringing us into their world. I really must commend and congratulate the cast for putting on a truly bullish performance.
Milk Presents Theatre Company, I am feeling liberated by your production.
Reviewed by Daniel Correia
Photography by Ben Millar Cole
BULLISH
is at Camden People’s Theatre until 30th September
