“There is a lovely use of actors amongst the audience members which adds another layer to the piece”
When I arrive I am given a sticker with a number and a colour on and sent to the corresponding chair by one of the evening’s hosts, Ruth. The show is opened by our second host, Jim, who greets us with a comedy song – always a good start. This is an interactive dating experience with a difference, inclusive and not driven by stereotypical romantic ideas but rather by a desire to connect. It is interspersed by personal stories from planted cast members about why they are here, including the underlying story of host Jim and his divorced Dad.
There is a lovely use of actors amongst the audience members which adds another layer to the piece as we are perpetually kept guessing as to who is an actor and who is an audience member. Their personal stories add a really lovely element but with more time it would have been nice to see Jim and his Dad’s arch more fully developed and resolved.
In a city that is often described as overwhelming and isolating, ‘Kiss Chase’ is a lovely idea that aims to create a space for connection. Unfortunately, the time spent with each person is so brief that it is hard to establish any real connection in this time. The option to stay connected or not with your partner of the moment, whilst phrased really well, is still laced with a strange pressure, particularly when you have to fill out this form still seated next to them, and I’m not sure how necessary it is for the furthering of the piece.
The most affecting moment of the piece was when an audience member chose to share an experience of a friend’s support during a breakup she went through. It is credit to the production that they were able to create a space where someone felt comfortable disclosing something so personal so honestly, and this piece would benefit from facilitating this space of honesty and trust further, to allow for more of these moments.
This is a really fun idea delivered by a strong cast, but it has some way to go in its development to ensure that its aspirational aims are successfully fulfilled to their potential.
“an excellently truthful depiction of how mental health can affect more than just the sufferer”
Within the last week we have heard about the untimely deaths of fashion designer Kate Spade and celebrity chef Anthony Bourdain, both of whom tragically committed suicide. So, once again, mental health and its fickle nature has become topic for debate within the media, which makes Paper Creatures’ current production, Section 2, seem even more timely. While shining a light on our mental health system, it is the path to recovery and the strength and support of fellow humanity, which truly lies at the heart of the play.
As the title suggests, it is based around central character Cam (Nathan Coenen) being placed under ‘Section 2’ of the Mental Health Act, within a secure facility. At school he was a rugby champ, and went on to serve in the army, but now finds himself caught up with panic attacks and frequent memory loss. It’s Day 28: possibly the last day of Cam being sectioned and no one has been able to pin point exactly what is wrong with him, or how his mental downturn began, which makes things that much more frustrating for Cam’s long-term girlfriend Kay (Alexandra Da Silva), whose own nerves are only just hanging on by a thread. A decision must be made by Cam’s key worker Rachel (Esmé Patey-Ford) as to whether he is fit to return home or whether he needs more time to recover. Cam’s old friend Pete (Jon Tozzi) has also come to visit, and with Kay having not always seen eye-to-eye with him, causes friction in the waiting room.
Playwright Peter Imms creates an immensely sensitive and stirring piece of writing that accurately and very naturalistically portrays the struggles of dealing with mental health, either as the patient, or, the loved one trying to help them get better. One of the play’s strengths lies in picking up on the mundane of everyday conversations. As characters discuss the likes of whether milk should go first in a cup of tea, or the clichés of bringing grapes to an invalid, this slight, observational humour helps counter-balance the scenes of a more intense or distressing nature.
With Imms having had personal encounters with mental health, and Paper Creatures collaborating with the charity Mind, who offered advice, it appears that all has been done to achieve a well-rounded and authentic account. The four cast-members are collectively strong; all taking great care in coming across genuine and believable – with much success. All in all, an excellently truthful depiction of how mental health can affect more than just the sufferer, and the power that will and determination can hold.
