Tag Archives: Gritty Theatre

Afternoon Delight

AN EVENING OF SEX

A E Harris Building, Birmingham, Sunday 3rd December, 2017

 

A small but discerning audience gathers on a chilly afternoon in a converted factory building in Birmingham’s Jewellery Quarter.  On offer is ‘An Evening of Sex’ but before we can get too excited, the programme notes reveal that the three short plays we are about to see are united by one factor: the characters do not have sex.  Frankly, I’m relieved.

Paperless

First up is a one-hander, so to speak, written and directed by Dominic Thompson and performed by Jack McBride.  Martin wakes up hungover and handcuffed to a toilet.  It’s his first wedding anniversary and he’s missed a lot of voicemail from his Mrs.  He’s due to fly with her to Dublin and time is running out.  McBride holds our attention well – as the bottom falls out of Martin’s world, and the arse hangs out of his trousers.  There is some neat physical comedy here as Martin drops his phone into the bowl and has to fish it out again, using a sock as a glove, and McBride swaps in and out of the character of a cleaning woman with clarity and ease.  This is a natty piece of writing from Thompson, fresh and contemporary.  We never learn why Martin’s so-called mate has done this to him, but that’s a minor point.

Fred and Ginger

Next up: a two-hander that charts the relationship between schoolfriends, Carl and Izzy.  We meet them at rehearsals for their annual school production, in a sort of Neil Simon Same Time, Next Year kind of way.  In four scenes, we see them grow up before our very eyes, from immature kids eating sweets and playing with Matchbox cars, to young adults, catching up with each other, both having their own lives.  Tilly Farell-Whitehouse undergoes quite a transformation in terms of look and attitude as the earnest, sweet-natured Izzy, quoting her mom and gran as the ultimate authorities on just about everything.  Dominic Thompson is equally credible as the wayward Carl, for whom school is not the best place.  Writer Michael Southan leaves it to us to fill in the gaps between the scenes, keeping the exposition of each scene to the minimum, and this works very well.  It’s sweetly played, and nicely paced by director Ian Robert Moule.  One of the mission statements of Gritty Theatre is to put West Midlands voices, West Midlands stories on the stage.  One of the advantages of the local accent is it readily lends bathos to any statement, a gift for any comedy: witness Izzy’s line, “That last chorus of Fame shredded my larynx.”  It would be interesting to see how the accent plays in the metropolis.

Painting a Picture for the World

Third and last, we have another two-hander, written by Dave Pitt.  The setting is the neat but sparse boudoir of one of your higher-class prostitutes.  Kitty (Jessica Melia) admits her latest ‘trick’, Mark (Damien Dickens), a nervous fellow who just wants ‘to talk’.  And so begins an exchange of observations rather than bodily fluids, the upshot of which is that money can’t buy you love.  Well, we could have told him that from the start.  The play does provide something of a window into the world of the working girl but comes across as an interview rather than a conversation.  Melia cuts a sympathetic figure and Dickens gets Mark’s awkwardness across, but we know he’s going to go away unsatisfied.  The tart with a heart pecks him on the cheek ‘for free’ and he shuffles out.  The session peters out and the play ends.  Nicely played but with no real pay-off.

All-in-all, a fresh and delightful afternoon of brand-new writing.  Perhaps Gritty Theatre have played it safe this time around but I look forward to seeing more of their work.

gritty_theatre

 

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Ecce Homo

ABOUT A GOTH

Crescent Theatre, Birmingham, Thursday 27th July, 2017

 

Gritty Theatre bring their production of Tom Wells’s 2009 piece to Birmingham’s Crescent Theatre en route to the Edinburgh Festival Fringe.  A one-hander performed by newcomer Clement Charles, this is the story of Nick, a 17-year-old Goth, who is gay and who volunteers at a local old people’s home.  Dressed like a kind of vampire undertaker, a cross between Marilyn Manson and Noel Fielding, Nick is instantly appealing – it’s his camp bitchiness (or bitchy campness) that gets us laughing along with him from the off.  His performance is a one-hander in a different sense when he confides that he has to abandon a masturbation session because of his fear of staining his black duvet cover.  Nick narrates key scenes from his life, including his visits to old man Rod at the home.  He (Nick) is bright and witty, scathing and sensitive – exactly the kind of character I would have found alluring when I was that age, all those centuries ago.

Director Ian Moule doesn’t let Nick keep still for a minute, eliciting an energetic and engaging performance from the likeable and talented Charles.  During his anecdotes, Nick gradually strips away his gothic accoutrements, sloughing them off one at a time – and it’s all in keeping with the action: his socks become galloping hooves in one of his mum and dad’s historical reenactments, for example – the piecemeal degothification adds to Charles’s electrifying portrayal, as Nick eventually goes the full monty – in the best possible taste!   No detail is overlooked, from the black toenail polish to the seemingly throwaway characterisations of the others who populate Nick’s life.  Wells’s witty script is given insightful treatment – a balloon is put to symbolic use and the baring of Nick’s body, along with his story and his soul, elevates this coming-out story to something more universal: it’s about becoming aware of one’s own identity, of discovering who you are beneath the labels we and others place on ourselves.  At the end, Nick stands before us, without a stitch or a smear of makeup.  He doesn’t need to say, “Here I am”.

Clement Charles is thoroughly captivating, his delivery immaculate and exceedingly funny.  He’s also a great little mover if his cavorting to the Sugababes and Britney is anything to go by.  It’s an assured performance that rings true.

This is a satisfying and entertaining hour or so, that stirs memories of one’s own troubled teenage years (is there another kind?) reminding us that Goths, teenagers and even the elderly are humans too.

Fabulous.

about a goth