Tag Archives: Oli Sones

Another America

Another America

★★★

Park Theatre

Another America

Another America

Park Theatre

Reviewed – 7th April 2022

★★★

 

“For all its initial bounce, though, this show is slow to catch fire”

 

Another America by Bill Rosenfield, manages to combine two American obsessions — sport, and road trips. Inspired by Dan Austin’s film, True Fans, Rosenfield’s stage version presents us with three characters, all male, all about to take what they hope will be a life changing trip across America. The plan is to cycle from Los Angeles, on the west coast where they live, to Springfield, Massachusetts, on the east coast, to visit the Basketball Hall of Fame. Dan, the instigator of this madcap idea, is a basketball fanatic. He somehow talks his reluctant brother Jared, and his best friend Clint, into coming with him. Even the team’s failure to raise money to sponsor their trip does not derail Dan’s enthusiasm. He is sure they will manage somehow. And manage they do, though their efforts are hardly inspiring. They are constantly being rescued by the kindness of strangers on basketball courts — and in Subway sandwich shops. Which is not an uncommon American experience, if truth be told.

Another America begins on an encouraging note. Donning the naïve enthusiasm of a kind that endears all Americans to each other — and to the world for that matter — actors Jacob Lovick (Clint), Rosanna Suppa (Jared) and Marco Young (Dan) are on stage to welcome the audience from the moment they enter the studio space at the Park Theatre. This informal presentation serves the production well as the actors shift between a variety of roles, and locations. Director Joseph Winters keeps the action bouncing along on a makeshift set, much like the basketball that accompanies our fans on their road trip. Occasionally, the audience gets directly involved. The backstage crew, even when invited, are shrewd enough to decline the offer to participate.

For all its initial bounce, though, this show is slow to catch fire. Another America is a better subject for film than the theatre, for the simple reason that, unless you’ve actually been to middle America, it’s a difficult place to imagine. It’s far easier to film this vast nothingness — if your audience is ready to settle in for long periods of riding across land so flat that you can see the curvature of the earth. Looking at you, North and South Dakota. Indiana, Missouri and Pennsylvania may not be quite as prostrate, but they’re still states in “flyover country” which makes their geographical expanse hugely challenging to convey on stage. The energetic charm of the actors is not enough to paint the pictures of emptiness in words that film, unfairly, can.

For the most part, however, Across America hangs on a series of depressing encounters with people left behind and disenfranchised by an illusory American Dream. Playwright Rosenfield accurately captures the bewildered resentment of these folks. But the first half of the Another America is spent wondering why, despite some of the spectacular scenery that the cyclists travel through, most of the action is located on basketball courts, near double wide trailers, farms on the brink of foreclosure, and Subway sandwich shops in the middle of nowhere. Ironically, a detour to Las Vegas results, not in a lost 24 hours of excess, which is kind of experience we have been led to expect from any encounter in the Nevada desert, but with the team getting the hell out of there as quickly as possible. Fair enough. But this hardly makes for good drama.

Right from the start, we know there is going to be a certain amount of rite of passage material in this picaresque tale. A good example is Dan’s reckless tossing of their trip mascot, a basketball, into the Mississippi River, in a moment of existential despair. He then jumps in after it. And his brother jumps in to rescue him, and the ball. Why rescue the ball? It’s not just that it’s a basketball. It is also covered with well meaning advice from all the people who have bailed them out, at one point or another during their trip. It turns out that meeting these people is more important than even reaching the Basketball Hall of Fame, which can only offer them a free soda as acknowledgement of their epic journey. Not surprisingly, the people they meet, with little to offer, and nothing left to lose, turn out to be more generous than corporate sponsors and money making tourist attractions. It’s a sobering conclusion to what might, under different circumstances, and in a different time, be a more uplifting tale.

Another America provides a glimpse into American life that is sadly recognizable, and rather downbeat. For audiences looking for something other than gritty dramas about big city life, this may appeal. But this story is as much a myth buster about road trips and sports fanatics, as it is an inspiring tale about go-getting heroes, despite the delightful energy of its young cast.

 

 

Reviewed by Dominica Plummer

Photography by  Piers Foley

 


Another America

Park Theatre until 30th April

 

Previously reviewed at this venue:
When Darkness Falls | ★★★ | August 2021
Flushed | ★★★★ | October 2021
Abigail’s Party | ★★★★ | November 2021
Little Women | ★★★★ | November 2021
Cratchit | ★★★ | December 2021
Julie Madly Deeply | ★★★★ | December 2021

 

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Institute of Nuts
★★★★

Matchstick Piehouse Theatre

Institute of Nuts

Institute of Nuts

Matchstick Piehouse Theatre

Reviewed – 28th March 2019

★★★★

 

“a powerful commentary on toxic masculinity in modern society”

 

Mark Daniels’ new darkly comic play Institute of Nuts at the Matchstick Piehouse Theatre offers a powerful commentary on toxic masculinity in modern society. In the era of #MeToo, the need to address the pervasiveness of dangerous notions of manhood has become an increasingly pressing issue, and The Institute of Nuts puts a spotlight on how widely and blatantly these attitudes are encouraged.

The play follows sixteen-year-old Billy (Theo Toksvig-Stewart) as he navigates his new life at the Institute of Nuts, a training camp-cum-prison run by the Miss Trunchball-esque E (Tori Louis) who addresses her students only through screens. Billy is renamed B and is introduced to the effeminate P (Christian Andrews) and the Institute’s only female student, O (Molly Ward).

The trio take lessons on self-confidence, feelings and bravery led by the sportswear-clad M (Craig Abbott) in which they are told to lie, use violence and suppress their emotions (except during the “FA Cup, World Cup and Shawshank Redemption”) if they want to succeed. After lessons, B, P and O are encouraged to play games and listen to music that endorse hypermasculine behaviour.

B quickly learns the Institute’s quirks such as chanting “I am strong; I am powerful; I am the best” before every lesson and striking bodybuilder-inspired poses whenever E appears on the Institute’s screens. The justification for anything questionable is “because it is established” which echoes popular phrases like “boys will be boys” used to excuse bad behaviour. Distorted versions of Spice Girls’ songs play between scenes (music composed by Dan Bramley) to remind the audience just how far we are from ideas of womanhood.

The play’s staging combined with its direction (Edwina Strobl) is highly effective in emphasising an environment of repressive expectation and surveillance. The audience sits in an oval arrangement around the stage and screens hang high on walls at either end. The screens show E keeping a beady eye on her students and periodically flash with images of James Bond, football and the rapper Skepta. The position of the screens outside of one’s immediate eyeline means that the audience also often finds themselves being unexpectedly observed which adds to a general sense of unease.

Louis shines throughout the play with a presence which rightly dominates the space. Andrews builds in confidence and is successful in delivering a powerful and emotional finale as the students discover the Institute’s true intentions. The plot is appreciatively subtle in its themes during the first half, but the second half is rather blatant in its message which at times is a little on the nose and over-literal.

Importantly, Institute of Nuts reaches its dramatic climax with an iteration of the facts. 70% of suicides are committed by men, 95% of mass shooters are men and 95% of the United States’ prison population are men. Perfect, powerful, “I’m alright” men as P describes them. Institute of Nuts forces the viewer to confront the toxic masculinity that infiltrates everything from cultural institutions to benign leisure activities and consider how realistic the existence of such a training academy really is.

 

Reviewed by Flora Doble

Photography by Oli Sones

 


Institute of Nuts

Matchstick Piehouse Theatre until 12th April

 

 

 

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