24:7 Theatre Festival, We are the Multitude @ John Thaw Theatre, 26.07.15

We have become all too familiar with paradigm of opposites in the films we see, the books we read and the plays we watch. The star-crossed lovers from opposing families, the feuding gangs fighting for their turf or, as a more contemporary take, a social divide coming together and rising up as an unstoppable dance duo. And that’s exactly what makes up We Are The Multitude.

Lisa and Simon are colleagues who share an office pod and we needn’t even meet them to have an idea of their differences. Lisa tarts up her table with fluffy tinsel and flowers, while house of Simon sports the understated, minimal look. As history and countless TV sitcoms have told us, we know we can expect the pair to cause each other some headache, but eventually put their difference aside to work together.

Predictable as it sounds, we are surprised when we discover what does force these two together. No, it’s not being stuck in an elevator or an ATM vestibule (classic Chandler). It's more interesting. The two are trapped in their office due to their university building being targeted by the protest group We Are The Multitude. However, the narrative isn’t a political one. In fact, the politics are an effective conduit to put two lonely and unpopular people together.

The piece is heavily comedic and the actors do an incredible job of getting the script off the page. Amy Drake, who plays Lisa, is a clear comic talent and has received recognition for similar roles. Drake does well to bring her movements and vocal technique to utilise a script’s humour. Andy Blake equally gives his character dimension as the condescending and self-righteous Simon, who hides behind an intellectual superiority to conceal his feelings of personal failure and fulfilment.

I did think it possible that Simon served a purpose to personify the touched-upon politics of We Are The Multitude, but did we lose ourselves in laughing so much that we missed something more? The protest group targets the several university buildings to urge the Prime Minister to acknowledge that education should be for everyone and not for the privileged. If we are not given the right chances, do we run the risk of a world of Simons, not realising or fulfilling their potential? I don’t know whether this was intended by writer Laura Harper or something constructed from my viewing – either way I would take it as a win.

I can’t deny that I enjoyed this piece. Who doesn’t enjoy a witty script? However, some of the confessions did seem a tad predictable and contrived, but that may be due to the familiar framework. Nonetheless, the piece clearly found success across all levels – a well-written script, directed effectively by Liz Stephenson, performed by talented and focused actors. So you can forgive a bit of predictability – they are classics for a reason, after all.

Words: Kate Morris
Image: Courtesy of 24:7 Theatre Festival

No Soft Option @ 3MT, 25.07.13

Crime doesn’t pay, but does it play? The evidence, your honour, suggests that it does – the justice system is a repeat offender as a setting for drama. Whether this is catching the criminals in Lewis, sentencing them with Judge Judy or watching them behind bars in Bad Girls, we’re used to seeing the law laid down for our amusement. But one facet that doesn’t get covered is community service. The words ‘community’ and ‘service’ don’t exactly set the pulse racing, but actually it’s a great setup: it throws together people with different personalities from all sides of the social spectrum, united in a common task that they don’t want to do. It is this maelstrom into which No Soft Option takes us, written by Brian Marchbank and showing at 3MT as part of the 24:7 theatre festival.

Under the supervision of newbie social worker Emma (played by Katie McArdle), a ragtag bunch assemble to carry out a seemingly simple task: painting a room in a community centre. How hard could that be? As the story unfolds, with personalities clashing, managers ranting and tools being downed, it seems the answer is: very hard indeed. There are some strong characters on display, particularly the neurotic Karen (Jane Allighan), who reveals her man isn’t actually her man but just a neighbour she is secretly filming, and Abby (Kimberly Hart-Simpson) who has recently had some not-so-successful anger management training. The relationship between Emma and her manager Viv (Penny McDonald) is also good value, with Viv providing an outward pressure on the whole group.

However, a problem for No Soft Option is believability – it is hard to imagine it all really happening, even in exaggerated form. Some of the writing comes across as slightly too stereotyped, especially for the two younger protagonists and the oldest member of the group, Malcolm (Leo Atkin). The evolving of the various relationships comes across as a touch forced, with unexpected reconciliations undermining what had gone before. Laughs come at regular intervals, with lots of good one-liners, but perhaps fewer jokes would have meant bigger laughs, and also given more space for the emotional side of the story to develop.

The above does not detract from the performances of the actors, who worked well together and added some nice touches, such as Abby’s dead-eyed stare and Karen’s ‘talk to the hand’ blocking of anything she didn’t want to hear. Jeff Butler’s directing was clear and uncomplicated, which suited the production, and keeping manager Viv as a constant menacing presence at the front of the stage added tension. The verdict? While not perfect, No Soft Option was entertaining, with lots of good jokes, and by the end I had definitely been won over. Watching paint dry might be considered boring, but seeing it not painted at all is actually quite fun.

Words: Andrew Anderson.
Images: courtesy of 24:7.

Away From Home @ New Century House, 23.07.13

Football and homosexuality are like City and United fans: the two don't mix. Insulting players from the stands with gay epithets is still common, the first openly gay professional footballer in the modern era hung himself and the 2022 World Cup is being held in a country where homosexuality is illegal. With this in mind, how would a drama about a young man in a relationship with a closeted Premiership footballer fare? The answer is that Away From Home in one of the best written, performed and directed dramas I have seen. Normally I take notes during a play I am reviewing, but by the end I realised I hadn't written anything beyond the first five minutes; I’d been too caught up in it.

In Away From Home, Kyle (played by co-writer and lone actor Rob Ward) talks an un-seen partner through his relationship with a professional footballer who plays for his club’s rivals (referred to as “the scum” throughout). But this is no ordinary relationship, as the footballer is in the closet and no one can know. Oh, and they meet as John and rent boy, not as equals. Add to that the pressures being brought on Kyle by his family and catastrophe never seems far away. But, such is the heart of this play, nor does hope.

Littered with great one-liners, such as describing a girl as so clever that “she's re-taking her first year of uni” and telling the crossbar to “fuck off” during a game, the play is funny as well as thoughtful, dealing with difficult relationships while also poking fun at them. The directing (by co-writer Martin Jameson) sees Kyle move smoothly around the stage, with each re-enactment running seamlessly into the next – a scene set in hospital was particularly striking for its simple brilliance.

There is a lot you can take away from this play: the power of friendships, the difficulties that families go through, the pressure of keeping a secret. But most of all I think it is that we are all capable of growing as people, so long as we keep our self-respect, and there is always hope that conflicts can be resolved. Well, most conflicts: I’m still not sure that City and United fans will be hugging come match day anytime soon.

Words: Andrew Anderson.
Image: Courtesy of 24:7 Festival.

Away From Home's run concludes on Thursday 25th July, while the 24:7 Festival continues until this Friday, 26th July.