The Space Archives - Page 7 of 22 - thespyinthestalls.com

Mycorrhiza

The Space

Reviewed – 15th May 2019

★★★

“this would benefit from being condensed into the powerful drama that is aching to come out”

Hidden under our feet is an information superhighway that speeds up interactions between a large, diverse population, allowing individuals who may be widely separated to communicate and help each other out. This isn’t the internet. We’re talking about fungi: a mass of thin threads that link the roots of plants. The tree in your garden is probably hooked up to a bush down the road. This ‘wood wide web’ even has its own version of cybercrime, but for the most part ‘Mycorrhiza’ is a process of give and take. Our plants are interacting with each other, just trying to help each other survive.

Writer Luke Stapleton has adopted this for the title of his debut play running at The Space as part of the ‘Foreword Festival’ of new writing; and although the botanical reference runs through the bedrock of the text, it focuses on the two characters and their own complex relationship with each other and their back stories. The story opens to the soundtrack of the Scots rock band, Biffy Clyro, appropriately singing the words: ‘happpiness is an illusion’, while Dean (Scott Afton) and Alicia (Corrina Buchan) are schoolkids stranded on a remote Scottish island as the tide comes in, with no option but to wait until dawn. Flash forward six years to the same beach where they reunite and try to make sense of the intervening years, and of each other.

These two characters are naturally portrayed, with fine performances, by the two actors. On the surface they are the antithesis of each other yet are two sides of the same coin. Afton subtly depicts the tongue-tied anger that lies beneath Dean’s introversion while Buchan skilfully lets us know that beneath her thick-skinned, nervy brashness is a soul that is truly hurting. Buchan’s performance is the more polished and believable, but it is essentially Dean’s story and his struggle with his own masculinity; the cause of which is revealed in a final heartfelt monologue. It is only because he believes Alicia is sleeping and cannot hear that Dean is finally able to give voice to what he has been through.

But the struggles to communicate are also reflected in Stapleton’s struggle to get to the point. There is some fine writing on display with its stinging observations and sharp dialogue that reminds us sometimes of Irvine Welsh. But there is a lot of moss that needs to be stripped away to let us get right to the roots. At ninety minutes it feels long and rather than try to build on this to create a full-length show, this would benefit from being condensed into the powerful drama that is aching to come out. We are not helped by Sepy Baghaei’s staging that sometimes weakens the action and, with a backwash of clumsy transitions, drags it back.

Ultimately, though, a lot of food for thought is washed up and we can pick and choose what we take away with us. It may not be brand new, but it is slightly twisted which makes us look at the issues in a different way.

Reviewed by Jonathan Evans

Mycorrhiza

The Space until 18th May

Previously reviewed at this venue:

The Dip | ★★★★ | February 2019

The South Afreakins | ★★★★★ | February 2019

FFS! Feminist Fable Series | ★★★★ | March 2019

The Conductor | ★★★★ | March 2019

We Know Now Snowmen Exist | ★★★ | March 2019

Post Mortem | ★★★★ | April 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★½

“possesses a plethora of great elements, and displays great promise”

Delicacy is part of The Space’s Foreword Festival, an annual event dedicated to honing and producing the work of emerging writers – not that this is evident in Mark Jones’ play, as his script carries all the hallmarks of someone who is already a master of their craft.

Delicacy follows a family’s farcical descent into madness as they’re embroiled in the misdeeds of a cannibal. Jodie and Duncan Gibson (Sarah Tortell and Colin Adrian respectively) had unknowingly eaten a cottage pie containing human flesh served up by their neighbour, who turned out to be a serial killer who eats his victims. The ensuing media storm frames the Gibsons and their daughter Amber (Stephanie Dickson) as villains, and their attempts to quell their antagonisation only serves to exacerbate it. The script takes jabs at the bizarre lack of laws surrounding cannibalism, as well as how the media (ranging from journalists to Instagram) callously exploit and weaponise the distress of others to great effect.

The slope that the family slides down is charted excellently by Jones, toeing the line between darkness and comedy expertly; the desperate actions of the characters frequently provide hilarity for the audience, while there are also a number of cracking one-liners throughout. Sammy Glover’s direction, too, keeps the pace and tension steadily increasing, and having the audience sit on all sides elevates the sense that the characters are trapped. Considering the audience configuration, it’s also hugely impressive that there were no moments where the actors blocked each other’s visibility, which is a testament to Glover’s staging and minimalistic set design that allowed for the maximum level of movement.

Tortell and Adrian both give excellent performances as Jodie and Duncan – they’re consistently believable even when carrying out psychopathic actions, and work as emotional anchors to keep the story grounded, while also keenly delivering the comedy. Dickson, however, does not manage to achieve this too – her portrayal of Amber feels one-dimensional, and occasionally lacks a sense of motivation underpinning her actions. She also seems strangely unaffected by the events surrounding the family, which does not allow her journey through the play to feel like it develops organically, and consequently the resolution does not land as gracefully as it could have.

Despite this shortcoming though, the show still possesses a plethora of great elements, and displays great promise for the future of Mark Jones. Consistently dark and frequently disturbing, Delicacy is – by and large – delectable.

Reviewed by Tom Francis

The Space

Reviewed – 15th May 2019

★★★

“this would benefit from being condensed into the powerful drama that is aching to come out”

Ultimately, though, a lot of food for thought is washed up and we can pick and choose what we take away with us. It may not be brand new, but it is slightly twisted which makes us look at the issues in a different way.

Reviewed by Jonathan Evans

Mycorrhiza

The Space until 18th May

Previously reviewed at this venue:

The Space

Reviewed – 8th May 2019

★★★½

“possesses a plethora of great elements, and displays great promise”

Delicacy is part of The Space’s Foreword Festival, an annual event dedicated to honing and producing the work of emerging writers – not that this is evident in Mark Jones’ play, as his script carries all the hallmarks of someone who is already a master of their craft.

Despite this shortcoming though, the show still possesses a plethora of great elements, and displays great promise for the future of Mark Jones. Consistently dark and frequently disturbing, Delicacy is – by and large – delectable.

Reviewed by Tom Francis

Delicacy

The Space until 11th May

Last ten shows reviewed at this venue: