“a hugely enjoyable 67 minutes of comedy, farce and randomness”
The title of this play “Out there on Fried Meat Ridge Road” indicates the level of randomness that you are about to watch in this play written by Keith Stevenson.
Entering the theatre you instantly feel part of the play thanks to a brilliant set by Simon Scullion who has created the feel of a rundown West Virginia motel room perfectly. The set engulfs the auditorium and you feel as if you are in the motel room with the characters.
The play centers around a highly uptight and anxiety ridden Mitch (Robert Moloney) who is having a bad day – no make that year! Moving from Maine to West Virginia for a new start life quickly things go wrong – he loses his job, girl friend, car and home all in quick succession. In desperation he answers an ad for a flat share with JD.
JD (Keith Stevenson) dominates the stage not just due to his physical size but with his presence and personality. He is a simple, kind man who has the ability to see the good in everyone. As each character enters the stage he looks further than their stereotype and shows the audience that there is more to the crazy crack head Marlene (Melanie Gray), the adulterous Tommy (Alex Ferns) and the racist and bigoted Flip (Michael Wade).
The play is an enjoyable 67 minutes of comedy, farce and randomness. Some of the jokes and one liners are predictable but amusing all the same. The acting is high quality – they portray their characters well and give them a depth that makes you believe in their stories from the moment they set foot on stage. The ability of JD to make you see through the stereotypes and his generous, kind-hearted nature make you want to walk out and spread some love to the first stranger you encounter.
Leaving wanting to watch the next installment of the story makes you think that this would be better suited to a TV show rather than a stage play. At times I could imagine the canned laughter piped into the set!
Overall a heartwarming play that has you chuckling your way through the 67 minutes. It is a play perfectly suited to a small intimate venue allowing the audience to absorb themselves in the show.
“A beautiful, touching story that’s so much more than just another coming of age tale.”
After a short stint at The Hope Theatre in 2015, 46 Beacon makes its West End debut in the rather snug Trafalgar Studios 2. A semi-autobiographical work by playwright Bill Rosenfield, 46 Beacon (the curious title is the address where the play is set) is a two hander set in a small studio apartment.
Robert (Jay Taylor) is a British actor who through reasons mainly of his own making, has been forced to get work in a Boston Theatre. There he meets Alan (Oliver Coopersmith), a teenage theatre worker.
Inviting him back to his room, Robert flatters Alan, plies him with drink leading to the inevitable; the sexual awakening of Alan. This sounds almost like a tale of grooming and an older man taking advantage of a confused young man, and you could easily view it as such. However 46 Beacon is much more than that. On a deeper level it explores issues that probably everyone has encountered – the ‘first time’, coping with a troubled relationship, handling rejection.
This is about two gay men, but it’s not so much a coming out story as it could so easily be written for a straight couple. It’s an extremely touching tale that focuses on life’s insecurities for a couple miles apart in age, social background and their viewpoints on what is important in life.
Full of humour (loved the opening description of gay life in the 1970s ‘there was no AIDS to worry about, just crabs’) and full of genuine warmth and emotion. It’s nice to see a play with gay characters feature realistic people and scenarios – currently too many plays feature only muscled youngsters living for club culture.
Casting is spot on – Jay Taylor plays Robert excellently as the manipulating, yet never forceful, older man and Oliver Coopersmith’s portrayal of Alan shines with youthful naivety. A cute little 70s set (Ruth Hall) adds to the overall cosiness of the piece.
Almost fifty years after it’s set, this story is still relevant and the issues raised as fresh as ever. A beautiful, touching story that’s so much more than just another coming of age tale.
