“you wouldn’t expect a play about dealing with grief to be funny, but this one is”
Sometimes dark comedy can come from pain, as a way of coping, as catharsis or simply as something that happens. Writer Josephine Starte says: “Then a close friend died suddenly and depression turned into layers of grief: hysteria, disbelief, panic, despondency. Being this heartbroken seemed like something that could easily ruin my life, and my impulse was to write about it, to take back a little control.”
And KillingIt is the result. Three women try to cope with the loss of a loved one in different ways, doing what works for them, or trying to. They support each other, not always understanding, but wanting all of them to find a way of being that works. The girlfriend, Molly, played by Starte, has turned her grief into a standup act, much as in real life she has fuelled this fine piece of writing. Molly is funny, warm and likeable, sometimes stepping out to share her thoughts with the audience; pieces from her show. Doña Crol is the mother, channeling her energy into making YouTube videos about flower arranging, and the grandmother is the fabulous Janet Henfrey, full of mischief and plotting to assassinate the president. Three ages of women, three different ways of coping. There is strength, vulnerability, laughter and weeping on stage, and plenty of laughter and a few tears from the audience too. Director Lily McLeish’s decision to have three sections of stage, each inhabited by one woman, gives a sense of their aloneness, a place they return too after being with each other. Anna Reid’s set frames these three areas, creating believable environments that complement the characters of the women and their interactions, helped by Anthony Doran’s lighting and Julian Starr’s sound.
Perhaps you wouldn’t expect a play about dealing with grief to be funny, but this one is. It’s also full of feeling and warmth. It was a pleasure to see two older women on stage, especially Henfrey, who is in her eighties, and refreshing that a young woman can write so well for older characters.
“a spectacular performance taking the audience on a journey of emotions”
VAULT Festival 2020 is a storm of ideas and madness, parties, costume and cabaret. What’s so great about being in the audience of ‘If This Is Normal’, directed by Helena Jackson, is the experience of watching something truly honest and sharing something deeply personal with the characters.
Two siblings, Madani (Isambard Rawbone) and Maryam (Zarma McDermott) meet Alex (Aoife Smyth) on their first day at a new school, all recently having moved to the area. Instantly, they become an inseparable three, and bounce off each other with boundless energy, their neon costume producing a loud synaesthetic experience. This coming of age story is about feeling different at school, post-exam freedoms, strong teenage friendships and the different experiences and expectations surrounding sex and consent whilst growing up.
I couldn’t think of a better place than beneath the humbling arches near Waterloo to watch such a piece where we are confided in, questioned and left to reflect. The script is beautifully written (Lucy Danser), laced with moments of poetry and left without a resolution. The characters work together seamlessly and the lines reflect their uncontained love for each other at a stage in life when, even though everything is shared, everything remains utterly mysterious.
Clothes are a strong theme throughout. All the costume changes take place onstage and as garments are strewn about the set (Lorraine Terry) and new ones are acquired, the audience sees an acceleration of the period the three characters spend growing up. These are the awkward years of adolescence where nothing feels concrete and the eclectic outfits allow for some nostalgia. Pigtails loosen and bodycon dresses tighten: a concoction of conformity and liberation reminding us that being a teenager is nothing but confusing.
Loud conversation is accompanied by competingly loud sounds and music (Nicola Chang), which is unfortunately a little overwhelming at times. However, it captures the mood of different scenes remarkably well and is incredibly evocative. The different pieces of music also create an underlying structure to the piece. The characters make their own sounds: gasps, screams and thuds are the background to their movements as they slot into the spaces with perfect synchronisation.
All three characters deliver very intelligent and believable parts, three teenagers growing up with their own insecurities and quirks. Isambard Rawbone connects completely with his character and delivers a spectacular performance taking the audience on a journey of emotions.
If you have an hour to spare, this performance is truly worth seeing and will transport you back as well as offering a space for reflection on growing up and early relationships.
