13.53°C Are you sitting comfortably? Well, you won’t be for long if you go to The Headgate Theatre to watch this remarkable performance of Ross Howard’s Our Walk Through the World by Headgate Theatre Productions.
It’s not often that you get six plays for the price of one when you go to the theatre, but that’s just one of the things that makes this production different. There are six playlets, seemingly unconnected, that come together to reveal the tragicomedy, absurdity and incongruity of life. This is dark comedy, and when I say dark, I mean as dark as the darkest dungeon. It won’t appeal to everyone, but for me, it was an unforgettable evening at the theatre.
The first playlet, Tilly (An Introduction), is a monologue performed brilliantly by Headgate newcomer Lily Skeggs. It takes the form of a self-tape that Tilly is making to be a surrogate mother for a couple. Tilly overshares her ‘suitability’, bringing in subjects like her sex life, previous relationships and taxidermy. The unseen Uncle Jim is ever-present. It makes you shift nervously in your seat as you wonder what Tilly might reveal next, setting the audience up perfectly for what follows.
Rules of Assortment is the joy that follows. It’s surreal and hilarious to the point of being Pythonesque (and that’s a massive compliment coming from me). Wonderfully performed by Adam Duarte-Dias, Olivia Rix and Sharon Carter with exquisite timing, this vignette exposes everything that is preposterous about office life. Think a bank, an interview room, a desk and jellybeans – I need say no more.
The final piece of the first half, Frisky & The Panda Man, is vaguely about animal conservation and focuses on Dr Ogden, an exceptional turn from Stephen Lello, who is being interviewed by a very bored reporter (Olivia Rix) about his work with pandas. It turns into Ogden’s life story, and as it unfolds, things become increasingly bizarre. Frisky (excellently portrayed by Lily Skeggs) is the only panda left, and as the talking panda becomes hysterical, the absurdity of the piece shines through.
The second half begins with Our Prospects for the Coming Season, which is (and isn’t) about football. The Manager, superbly played by Paul T. Davies, is holding a press conference to announce a new signing for his club. The non-English-speaking prospect (Adam Duarte-Dias) is accompanied by his agent (Stephen Lello) and two reporters from the press pack (Olivia Rix and Lily Skeggs). The Manager makes the prospect sound like a combination of Lionel Messi, Cristiano Ronaldo, Pelé and George Best, while the Agent translates his words to ensure his own cut is secured. Meanwhile, the Manager faces a personal crisis as his daughter goes into labour during the press conference. The denouement is emotionally draining and brings to mind Bill Shankly’s famous (and ironic) quote: “Football isn’t a matter of life and death; it’s much more important than that.”
The penultimate playlet, Relinquish, set in a café, depicts a long-awaited meeting between a mother and her son. It’s awkward, touching and very funny in almost equal measure. The performances by Sharon Carter, Adam Duarte-Dias and the cameo by Lily Skeggs are outstanding and, like every other vignette, could easily stand alone.
The final piece, The Viewing, begins with explosions, gunshots and screams before Olivia Rix, as a stereotypical estate agent, enters with a mother and father (Sharon Carter and Stephen Lello) to show them around a property in a war-torn environment. Their son, Tommy (Adam Duarte-Dias), appears later, and what follows is truly dark comedy performed with a lightness of touch that contrasts beautifully with the bleakness of the story. Brilliant and astonishing.
This production is what great theatre is all about. It’s challenging, provocative, disturbing and hilariously funny in places. It won’t be everyone’s cup of tea, but I loved it. Consistently great acting from the six performers, exceptional direction by Forest Morgan (assisted by Annabelle Caldwell), and superb work across costumes, lighting, sound design, and stage management make this an absolute triumph.
Go and see it for yourselves. It runs until Saturday, and tickets are still available for all performances.
Review by Tim Young.
Photo credit: Sally Parkinson Photography
