“Performances across the whole company are strong, full of confidence and always working in sync”
Founded by Helen Potter and Carissa Wagner, Potter and Wagner theatre company seek to explore social issues in a ‘very British’ style of comedy. Their latest show, Bitter, seeks to encompass a smorgasbord of topics. These range from the relatable, unhappy relationships and graduate frustration, to the surreal, and a very possible murder. Playing at the New Diorama Theatre, and with distinct style, it is unfortunate that we are short changed by a script that threatens to topple the play.
We follow Wendy, Melissa and Mavis, old school friends reunited after graduation. Each of them has a problem, one trapped with a difficult partner, one afraid of what others will make of her sexuality, and one negotiating single life whilst living with an … interesting flatmate, Brian. They will deal with these through a series of sharing meetings, enjoying some ‘hot-cross fun’ by speaking when passed a bun. Their stories are brought to life on stage, building towards an event that they will be forced to overcome together.
The first thing to really praise is the way in which the piece is constructed. Two microphones, each linked to a loop pedal combine with the cast’s fine voices to effectively conjure each location and create enjoyable montages. Performances across the whole company are strong, full of confidence and always working in sync. It is a shame that the piece itself does not have the same level of focus.
The issues with the show come from none of the problems feeling intrinsic. As someone details one memory, it feels interchangeable, as though they could swap for any issue and it wouldn’t matter. While sometimes enjoyable, the sharing conversations do not advance the story, all loose, meandering and retrospective while nothing is moving forward. This is part of a narrative that becomes ludicrous, headed towards a twist that falls flat, coming with a hard to take plot hole. With some focus there is strong material, but it can read as though ideas are being thrown in, prodding at themes while not exploring with any depth.
But even with these, this is still a pleasant hour to watch. Nicely paced and nicely played, it is clear that Potter and Wagner have a bright future. While this isn’t entirely successful, there is more than enough for an audience to hold onto, and worth seeing to hear a gloriously groan worthy gag about a popular dating app.
“an important piece of theatre which shines a light on a complicated issue”
Produced by the award-winning theatre company Lost Watch, Left My Desk tells the story of Children’s Services social worker, Becca (played by Rianna Dearden) and her struggle to do her job amidst budget cuts, tough cases, and personal sorrows.
The acting overall is of a very high standard, but Adam Langstaff and Rachel Hosker, who both play a variety of characters, from a tough policeman to a young mother with an addiction problem, are the standouts. They switch superbly through their various personas and are highly believable and enjoyable to watch.
The storyline is gripping and gives us a taste of Becca’s personal life and work life, which at times seem to blur into one. There is a lot that is left unresolved and large time jumps, which are sometimes unclear, but this seems to reflect Becca’s job itself as in social work most cases are not tied up neatly with a bow. There are a few cheesy lines that could have been avoided, but overall the plot is fast paced, exciting, and engaging, and clearly shows the breakdown of Becca’s mental health as she strives to do her best at her job. The piece certainly succeeds at pulling you in completely to this world of domestic violence, budget cuts, and class divides, and you can’t help but be affected by the cases Becca has to deal with and impact austerity has had on social work.
The set consists of three white desks and three white rectangular frames on wheels, each with a clear plastic sheet across them. These frames work as office windows, hospital hallways and French windows, and have a lovely reflection effect. They are flexible and work well to illustrate the play’s many locations but also keep the cold, clinical feeling which seems to mirror the way the institution of social work can sometimes feel. As Becca says, “An organisation doesn’t make a great parent.”
The lighting and sound design are excellent and add to the tense mood of the play. The lighting design (Hector Murray) is particularly ingenious in one scene where Becca and her partner, Phil (Jamie Samuel), are driving at night. The scene is the emotional climax of the play and the lights cleverly imitate driving on a motorway at night. Fergus Waldron’s sound design is also very well done, in particular the use of low tones and sound effects underpinning scenes and setting the location (e.g the quiet hum of traffic or the sounds of an office). It’s these small design touches which really lift the piece and bring it all together.
Overall, Left My Desk is an important piece of theatre which shines a light on a complicated issue and tells it from the perspective of those who are on the ground and working in the field. It’s a well-designed, heartfelt, and thought-provoking show and absolutely worth a watch.
