Cardboard boxes, beige and ochre backdrops and gender-neutral clothing which drapes and tucks into different shapes and fits – this production is very appealing to the eyes.
We follow the stories of three individuals – a young women with an undiagnosed health condition, a young man who cannot share his grief with his friends, and a young trans man growing into their identity. While all three give us likeable, watchable performances, it’s Finn Harkin and the story of Person 1 which really captures the attention; their portrayal of the journey to understanding, both of themselves and from their family, ranges from awkward teen, cute and funny, through anger and despair, before finding an optimistic conclusion – hats off to Finn.
“Let us be who we want to be”
Each story circles around through vignettes and friezes, weaving in and out of each other, until they reach some kind of resolution, although it’s clear that this is not the end for any of them. A frieze near the beginning involving our troubled young man (Person 2) loops back round at the end and delivers a particularly pleasing visual moment – bringing to mind a classic old master in oils. Very satisfying.
The cast is supported by a fourth person - musician Harry Miller accompanies the action with live loops, acoustic guitar and vocals - “Let us be who we want to be” a repeated refrain – and the odd tiny cameo – I enjoyed it when he was brought into the action and could’ve seen more of that.
Brings together the collective experience of sixty people
Dialogues and monologues are delivered in rhyming couplets – where this works it is a joy, you almost don’t notice it and it brings rhythm and pace. Sometimes, however, it feels a bit clunky and I wonder if I’m losing the sense of things for want of a rhyme. We’re told at the end that this piece brings together the collective experience of sixty people – which is a wonderful fascinating thing! I wonder if in places some verbatim quotes might really hit home, a combination of rhyme and transcription to mix things up?
There are a lot of topics covered in this piece – from eating disorders to suicide, gender and sexism, pain and periods, incels and toilets, discrimination & privilege, motherhood, mental health, women’s health, grief – I am not always sure what point is being made, there are so many. We’re told this is the R&D phase – we’re watching a work in progress. There must be so much from those sixty contributors that is hard to lose, but letting go of some might bring focus. Perhaps this could develop into a triptych or series of plays?
This show has been developed online and in person, through the pandemic and lockdowns – congratulations to the team and cast for bringing it to where it is now – I look forward to seeing the next steps. If this is the R&D no doubt the fully formed piece will be even more thought-provoking, watchable and enjoyable than this.
★★★1/2
Be. was written by Gabrielle Finnegan and performed by Finn Harkin, Alicia Pollard, Matthew Kay & Harry Miller at the Loco Klub on the 5th July 2022. It was directed by Alexa Kaby and developed and produced by Greedy Pig Theatre Company.
Beccy Golding is a Bristol-based poet, fool, writer and arts administrator. She has recently created a brand new spoken word night for older / aging / elder women, called Stone the Crones.
Daily poetry at @FridayIsPoetsDay
@stonethecrones on all the socials
Opmerkingen