“while it may not be sophisticated, this show does what it sets out to do – leave its audience with a big goofy grin”
‘Welcome to Hell. You are No. 47 in the Queue. Thank you for your patience.’
Sometimes when you go to the theatre you want to see shows that challenge your world view, have deep political significance or profound comments on the human condition. And sometimes you just want to have a laugh.
And if you’re looking for the latter you could do a lot worse than Danse Macabre’s Tales from the Phantasmagoria, an on the spot impro show playing at the Old Red Lion. There is no agenda here other than to have a good time. The focus is on fun, as our Demon Guide Neil (Thomas Barry) invites the audience to decide what unfortunate incidents brought his two hapless companions, (Joseph Willis and Guy Matthews) down into the inner circles of hell. Willis and Matthews then enact whatever scenario the audience gives them, in this case that included Donald Trump’s marriage to Skippy the Bush Kangaroo and criminal mastermind Penguin. There is also cake.
It’s silly, absurd and all done in the best possible taste. Matthews and Willis are certainly game for anything and attack the whole performance with energy and openness. It’s not the most revolutionary show I’ve seen and at some points the boys did play it a little safe, (an indication more of a young company growing in confidence, rather than of their ability as they certainly have the wit to carry it off). But while it may not be sophisticated, this show does what it sets out to do – leave its audience with a big goofy grin.
The company is Edinburgh bound this year and I expect we’ll be hearing more from them in the future.
“there is no connection or chemistry between the two actors, and if anything their moments of intimacy seem physically awkward”
Ellie and Rob meet unconventionally. That is to say she follows him and rugby tackles him to the ground when she senses that something is wrong. In no time at all they are dating, but Rob is still reeling from his past relationship, and Ellie’s mental health is growing increasingly unstable. ‘In the Shadow of the Mountain’ is supported by Mind, a leading mental health charity and it is a much-needed investigation into mental health issues, in this case Borderline Personality Disorder, and the effect they can have on a relationship.
Unfortunately the execution of the play is unsuccessful. Whilst David Shears settles into the role of Rob towards the second half of the production, he seems physically uncomfortable throughout, desperately searching for things to do with his hands, clumsy in the space. From the moment he enters he is “acting” (or over-acting), sighing and shaking his head. He is perpetually projecting the character of Rob rather than inhabiting him, making his characterisation a real struggle to believe. Felicity Huxley-Miners, on the other hand, is genuine and consistently strong as Ellie. Both actor in and writer of the piece, Huxley-Miners has certainly written herself a more nuanced and in depth role, and she fulfills it with commitment and a fantastic energy.
However there is no connection or chemistry between the two actors, and if anything their moments of intimacy seem physically awkward. At no point do we see the couple actually happy together, so Rob’s later descriptions of Ellie as “wonderful” seem empty and ingenuine, and his recurring decision to stay is unconvincing. The play requires some moments of calm to create balance, moments of warmth so that we understand why this relationship began. The combination of this lack of connection between the two and a lack of moments for this connection to be established, means that the relationship is wholly unconvincing and so its breakdown has limited impact. The piece exists predominantly at one level, meaning we become quickly desensitised. A more subtle escalation of the situation would really help this piece to create a sense of build.
This show starts a vital conversation, but is let down by a lack of balance and subtlety in the writing, and a lack of connection onstage.
