Tag Archives: Birmingham Fest

Life in a Northern Town

HE’D MURDER ME

Blue Orange Theatre, Monday 23rd July, 2018

 

James Nicholas’s one-act one-hander tells the story of Jack, a young man who grew up in Huddersfield during the time of the Yorkshire Ripper murders.  Jack, it transpires, is gay, a fact he is compelled to keep secret because his world is steeped in violent homophobia.

Richard Buck is Jack in this challenging piece.  He is an affable narrator, dipping in and out of characters swiftly and with precision, using gesture, voice and stance to depict the host of people that form Jack’s story.  This economic style is so effective; we can picture each person so vividly.  Jack is haunted by the Yorkshire Ripper, who contributed to making his teen years so terrifying, and, as the tale unfolds, we come to understand exactly why.  Buck is superb and doesn’t miss a beat.

Director Ian Craddock keeps Buck moving – the stage is full of him.  Changes of location and mood are subtly signalled through lighting changes but Craddock allows the power of his actor to keep us engaged in this tale of coming-of-age without coming-out.  Nicholas’s beautifully detailed writing builds to a shattering revelation.  The enforced keeping of a secret – homosexuality, I mean – can have devastating effects on the secret-keeper, with long-lasting effects on mental health and wellbeing.  In Jack’s case, it is truly a matter of life and death.

Absorbing, gripping and emotional with a magnetic performance from Richard Buck, this is a fine piece of theatre that deserves a larger audience.

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About last night…

THE MORNING AFTER

Blue Orange Theatre, Monday 23rd July, 2018

 

This witty three-hander first produced three years ago gets a welcome revival as part of this year’s Birmingham Fest at the Blue Orange.

Written and directed by Darren Haywood, it’s the story of Sam (Jacob Wright) who wakes up hungover to the realisation that he sent a string of regrettable texts to his girlfriend.  Wright is wide-eyed, often horror-struck, a master of the comic reaction; you can see the cogs working in his befuddled brain.  Waking up next to him is Niamh (Gabby Killick) a complete stranger.  Neither she nor Sam has any recollection of the night before.  It falls to Echo, the escort in the bath tub, to fill in the blanks – played with snarky relish by Lisa McKinley.  McKinley is the perfect foil for Killick’s stuck-up drama queen.  Level-headed Echo has all the barbed, deadpan observations, while Niamh excels at melodramatic outbursts and over-reactions.  They are equally strong at opposing ends of the scale.

Caught between this virgin and whore, Sam is both mediator and target of the women’s vitriol, as the power shifts around the trio and allegiances are formed, broken, and re-formed in seconds.

Haywood’s script is quickfire.  Every punchline hits home and is expertly handled by his excellent cast.  He paces the action nicely, wringing the comic potential from every moment.    Haywood keeps events within the realms of plausibility while keeping a steady hand on the helm.  The playwright’s hand and the director’s eye are there, shaping the delivery, skewing the naturalism for the purposes of giving us a laugh.  The humour largely arises from character, and the cultural references they make are drawn mostly from television, with the occasional classical allusion – Echo comes across as well-read, and why shouldn’t she?

The result is an extremely funny sixty minutes. It’s almost a contemporary morality play as Sam’s chickens (the way he has treated his girlfriend) come home to roost.

A delight.

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