“it is always important and refreshing to see young people maximising the potential of theatrical interaction”
A company of ten dynamic young people tumble and strut into the Yard’s open, sports hall-esque space, and bring the whole room to vibrant life. Though structurally uneven and oddly paced, this did not detract from the warmth and talent of the ensemble, or the topic they explored.
Sex: the act which marks the shift from childhood to adulthood. Society is obsessed with it, yet we rarely speak constructively about it. Through a playful combination of short scenes, interspersed with monologues and movement pieces, these young people don’t only talk: they dance, laugh and roll around, confronting taboo and creating a really explosive, yet tender, theatrical result. Show creator James Blakey clearly brought out the strengths of each company member, and it was clear that they love and support one another.
Occasionally, the shift between different tones was a little clumsy. Humour was used inventively, and captured the individual voices of the ensemble, though sometimes it would have been braver to let a more heartfelt tone settle over the audience. Simon Jones’ movement direction had some beautiful moments, but often it felt a little interposed on the action. The final sequence, though mesmerising in places, could have used a little more choreographic order. That said, it is always important and refreshing to see young people maximising the potential of theatrical interaction and, for the most part, The Act did just that.
Charlie Damigos’ design revolved around the company changing in and out of a kooky mishmash of clothes on hanging rails, which they also incorporated as part of the set. It was colourful, fun and original, and great to see a company of young people be dressed inventively. The costumes complimented the haphazard, exploratory nature of the piece. Jamie Platt lit the unorthodox space exceptionally well, and add some crucial subtlety to the piece, as well as striking flashes of bright colour.
Although The Act would have benefited from some further honing and structuring, the creative ensemble still had an elegant cohesion which was a delight to witness. They challenged themselves with some quirky audience participation, incorporated music, and each had an individual spark which, when combined, made a fire.
“Harbot’s script has some beautiful language and is rather poetic in parts”
A New and Better You, written by Joe Harbot and directed by Cheryl Gallacher, tells the story of an unnamed protagonist (played by Hannah Traylen) as she transforms from an unmotivated loser to a superstar wellness influencer. It’s a biting critique of the online self-help movement and the soulless consumerism at the heart of it.
The protagonist’s “upgrade” is overseen by two–also unnamed–characters, who seem like a mix of motivational speakers and PR consultants. They are played by the excellent Saffron Coomber and Alex Austin. Their creepy smiles and upbeat attitudes are enough to set your teeth on edge. The acting overall is superb, in particular from Traylen who is able to move from depressed to ecstatic seamlessly and is able to subtly show the cracks starting to appear in the star’s supposedly “new and improved” self.
Harbot’s script has some beautiful language and is rather poetic in parts. One long monologue where the protagonist lists, and apologises, for all of her flaws, is especially moving. However, the frequency of these long, abstract monologues becomes a bit repetitive, and while these speeches about how to improve oneself do reflect the themes of the play I couldn’t help but wish for a bit more dialogue and action. While the script certainly proves its point about the absurdity and shallowness of the self-improvement world, the play feels like it is lacking in structure.
The design is sublime. Bethany Wells has created a surrealist masterpiece with a diamond shape sandpit at the centre of the stage and a gold diamond stuck to the brick wall at the back of the theatre. The projections of motivational quotes and emojis are funny, stylish and add to the overall nightmarish feeling, without ever being intrusive. The stylish design and projections are further complimented by the excellent design and sound/composition. Jess Bernberg’s lighting design is original and mesmerising, in particular in the final climactic scene where we are made to feel as though we are in a desert; the lights perfectly mimic the sun, swirling sand and hot, blurry air. Josh Anio Grigg’s sound, like the projections, never feels invasive but rather like another layer of this creepy, false world of gym exercises and product endorsements.
Overall, A New and Better You is slick, stylish, and a haunting look at the ends some people will go to to improve themselves. Well worth a watch.
