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Reboot: Shorts 2

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Reboot

Reboot: Shorts 2

The Bunker

Reviewed – 15th October 2018

★★★★

“a show that demonstrates the diversity, vitality and ambition of young theatre-makers”

 

Shorts 2 is the second night of new writing produced by Reboot Theatre Company. With the use of simple staging, committed performances, and six of the best short plays selected from hundreds of submissions, Reboot (along with director Nico Pimparé) present a promising glimpse of a new generation of playwrights.

The show opens with Cradle, based on the deceptively simple premise of a couple (played by Faidon Loumakis and Athena Bounti) drifting apart. But, like the new Mercedes sitting proudly in their driveway, this is simply a cover, one that writer Sascha Moore slowly strips away to reveal a harrowing story of loss. The plot is layered and complex – surprisingly so considering its length – and Bounti’s performance is captivating.

It’s a hard act to follow, but The Answer is more than capable of doing so. It’s 1973, and Clive (Tom Blake) is taking a step into the future by purchasing an “ansafone”; his wife Jenny (Rachel Brown) thinks it’s a step too far. Tom Glover expertly satirises our age-old obsession with the latest must-haves. The writing and performances are witty, self-assured, and a great contrast to Moore’s tension-laced opener.

Kiss Kiss by Lily Shahmoon follows co-workers whose affair begins at completely the wrong time. They only have a few more months together before Hayley, who is pregnant, must retreat into stability. Shahmoon has created a sweet and endearing love story, and gives it a twist by presenting it entirely through text messages. Bounti and Michael Waller have great chemistry as Hayley and Chris, but important moments sometimes feel rushed.

Laura Harper’s Vermin opens the second half: whilst not as strong of an opener as Cradle, it is an intriguing premise that is well-executed. Lucinda and Ash are in pursuit of a fox. He wants to prove his usefulness to the resistance, she to gain access to the upper echelons of society. Harper’s piece is sinister, but its swift pace sometimes hinders our understanding of her dystopian world.

After a string of two-handers, Harry ter Haar’s Cheating unites four of the five actors to discuss the meaning of this act. Nick (Blake) announces in the middle of dessert that his wife is cheating on him…but is she? What follows is an absurd unravelling of the concept of “cheating” that impressively combines humour and high stakes. As in The Answer, Blake steals the show with his comic timing.

The final piece, Candy, is a monologue that rounds off a balanced programme. Will (Waller) is not the sentimental type, but a chance encounter with the woman of his dreams transforms his outlook. The piece is somewhat predictable and you can see the ending coming, but this does nothing to devalue Tim Fraser’s well-rounded exploration of character. Waller is likeable and engaging, drawing the audience in and effortlessly keeping them engaged.

Reboot have clearly worked hard to showcase a variety of forms and perspectives. The result is a show that demonstrates the diversity, vitality and ambition of young theatre-makers.

 

Reviewed by Harriet Corke

Photography by Ali Wright

 


Reboot: Shorts 2

The Bunker

 

Previously reviewed at this venue:
Ken | ★★★ | January 2018
Electra | ★★★★ | March 2018
Devil With the Blue Dress | ★★ | April 2018
Reboot:Shorts | ★★★ | April 2018
Conquest | ★★★★ | May 2018
Grotty | ★★★★ | May 2018
Guy | ★★★½ | June 2018
Kiss Chase | ★★★ | June 2018
Libby’s Eyes | ★★★★ | June 2018
Nine Foot Nine | ★★★★ | June 2018
No One is Coming to Save You | ★★★★ | June 2018
Section 2 | ★★★★ | June 2018
Breathe | ★★★★ | August 2018
Eris | ★★★★ | September 2018

 

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Eris – 4 Stars

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Eris

Eris

The Bunker

Reviewed – 12th September 2018

★★★★

“full of modern wit, with punchlines that accurately chime with modern dating tropes”

 

Ireland’s had a run of referenda in recent years that have been successfully socially progressive, putting the UK’s effort in that department to shame. Most recently the referendum overturning the abortion ban, but not forgetting the preceding referendum on legalising same-sex marriage in 2015. Although the 2015 referendum was won in favour of same-sex marriage, that still left 38% who voted ‘No’.

It’s in this environment that we’re introduced to Seán. Seán’s sister Sinead is getting married to his school mate Steve. But Sinead doesn’t want Seán’s boyfriend to take the attention off her at the wedding. Fortunately for them, Seán already broke up with him. But as Seán’s friend Calista points out to him, he shouldn’t be content with tolerance from his own family; he should expect acceptance. And that’s when they hatch a plan, Mean Girls style, to nab Seán a man so hunky, so English, so … Protestant, that his family will flip out and wish that they hadn’t told him to hide.

Cormac Elliott gives a tender portrayal as Seán, at once proud and ashamed of his sexuality, resulting from his repressive upbringing. More than a story of familial acceptance however, Elliott’s portrayal conveys another, more prosaic, narrative: the process of getting over an ex. The Eris of the title refers to the Greek god of chaos and strife, adjectives that accurately describe Seán’s internal struggles as much as those that play out in his relationships.

Eris is not the only influence taken from the Ancient Greeks. The piece is highly stylised, with a Greek chorus of four actors each stepping up to play mother, sister, friend and lover throughout. This can be jarring at times. There are two scenes where we see Seán on a string of online dates, pinning down a stooge date for the wedding. These start strong, conveying the sense of mania and unease typical of meeting people online. But the scenes drag on, becoming tedious as the amplified sound often muffles the dialogue. At its best however, Charlie Ferguson, Katherine Laheen, Clare McGrath and Ashling O’Shea all embody their respective parts and create an energetic atmosphere.

John King’s original script is full of modern wit, with punchlines that accurately chime with modern dating tropes. These are tied together by vignettes ranging from the intimate, as his mother recounts the morning of her own wedding (featuring toast and marmalade) to the bizarre, like when Seán takes a date to see the musical Cats, although he has a psychosomatic feline allergy. Or when Séan tries to broach the subject of his sisters wedding mid fellatio by talking about his Nana. These moments are when the piece is at its best, making for an evening of laughs and more touching moments extremely memorable.

 

Reviewed by Amber Woodward

Photography by Connor Harris

 


Eris

The Bunker until 28th September

 

 

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