The Red Shoes, Young Pleasance @ Pleasance Courtyard – Beyond Theatre

By Jo Billington & Will Feasey with Tim Norton
Original music composed by Ned Bennett
August 15 – 18

And my Edinburgh Fringe is off to a good start with the Young Pleasance’s charming production for 2018, The Red Shoes! A re-imagining of the tale by Hans Christian Andersen, this (light on the music) musical follows the story of Lotta as she grows up in early 20th century Berlin. We see Lotta as she grows through three stages: her childhood as the orphanage’s wild child, her teenaged years working as a maid and then stumbling into cabaret performance, and finally her later years as a rich entrepreneur’s mistress and actress in Goebbel’s propaganda films. Throughout all this time, two things remain constant: Lotta’s best friend, a Jewish boy named Jacob, and the pair of red dancing shoes she inherited from her late mother.

This production is slick, with well-oiled choreography crafted for actors who are not trained dancers, and song numbers crafted for actors who are not trained singers. The costumes and sets are sumptuous and wonderful – adult Lotta’s film star outfit shone for the former, and a transparent gauze curtain was used to great effect for the latter when intimating flashbacks or detached worlds (such as the unreachable upper class audience watching Lotta perform). The ensemble class is strong, with the Narrators (Hannah Margerison and Kieton Saunders-Brown) inhabiting the most consistent roles, and performing them strongly. Margerison also played a key figure asthe mysterious friend who introduced Lotta to the world of performance – this double-casting carried interesting implications about whether the seemingly impartial, omniscient narrator was providing a guiding hand in Lotta’s fate.

Of the three Lottas, the youngest (played by Eliana Franks) certainly had the most energy and charisma; however, it may have been more of a problem with the writing than acting that the characterisation of this story’s lead felt like it lacked continuity. There were few similarities between Franks’ precocious and rebellious girlchild, Katie Walton’s naive and unsure teenager, and Eva Burton’s glamorous, selfish adult woman. Jacob, however – played by Theo Murchie and later Kishore Walker – seemed to remain the same idealistic, intelligent, and innocent young boy so captivated by Lotta’s charms. Other standout actors in minor roles included Ella Davis as the sharp-tongued Frau Pelzer, and Miles Rosbrook as the coldly villainous Franz.

This play, as we are informed almost immediately, is about temptation in all its forms: fame, fortune, love, belonging, and much more. It blurs the lines between a glittering glamour which is never quite within Lotta’s grasp, and the seedy, desperate, harsh reality which keeps chasing her. But once she has slipped her feet into those shoes, she cannot take them off until she has lived out her fate – and the final, powerful image spotlit on stage serves as a warning against the fickle nature of that which may tempt us.

This talented young cast is certainly one to watch – The Red Shoes is on at the Fringe until the end of this week, so hurry to catch it before it dances out of sight! Tickets available here.

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The Egg Rumour, The Brew Makers Theatre Co @ The Cockpit, Marylebone

Produced and presented by The Brew Makers Theatre Co

Written by Ellamae Cieslik

The Egg Rumour is an original musical about the “new corporate perk” of egg freezing so that women can work more and longer hours without being distracted by their reproductive needs.

The script was written and produced by the lead actor, Ellamae Cieslik. It uses intentionally shallow characters to mount a social critique on the corporate world which treats its employees as interchangeable resources with no regard for their actual desires. It focuses, however, on a fairly narrow target – egg freezing is a relatively small issue for women in the workplace, and I was surprised to see it spun out into an entire hour.

The script is strongest when it leans into humour – there are a few laugh-out-loud moments based on misogynistic etiquette manuals and good comedic timing. However, as the piece clips along quickly, without giving most of the characters names or any realistic depth, the more dramatic moments lack any emotional punch. There were moments that felt undeveloped or unresolved – the Egg Whisperer is consistently mentioned but only gets to speak in a single didactic monologue, and the sexy doctor seems like he’ll be more important than he is.

The performances are engaging, including some capable singing and a little fun choreography – the original songs are simple and effective jazz style pieces that work in the context of the show. The set and costume design are minimal and cleverly done.

Overall, the Egg Rumour feels like the first draft of a piece that could be a more complex exploration of women in the corporate environment – worth a look but not groundbreaking.

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Just William’s Luck, Shedload Theatre @ Underbelly, Edinburgh Fringe

4th – 27th August 2018

Iron Belly, UnderBelly, Edinburgh Fringe Festival.
Devised by Jonathan Massey, Matthew Barnes and company.
Cast: Jonathan Massey, Davey Lias, Thomas Gutteridge, Greg Arundell and Louise Waller.

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Hot on the back of a tour that travelled to regional theatres in the UK and Poland then London, Shedload Theatre company have arrived at the Edinburgh Fringe.

And the Fringe doesn’t know what’s hit it!

Have you ever rewatched an episode of The Simpsons as an adult and are hit with how brilliantly written and performed the show is? That as a kid you got it on one level and as an adult, you understand it on a whole new level.

That is what Shedload Theatre’s production of Just William’s Luck perfectly executes.

This show could quite easily be a family friendly kids show that you might take your 3-year-old niece along to and endure.

But it is rather bloody marvellous and rip-roaringly hilarious for absolutely anybody and everybody.

Based on an original Richmal Crompton book and incorporating elements of the text into the show, it is essentially a play within a play. The ‘outlaw’s (a group of children led by William), put on a play of an adventure that happened to them all when questing as ‘Gnight’s of the Round Table’ trying to right ‘rongs’. The outlaw’s use whatever they find around them in their den to tell the story.

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Crafting together a horse, the famous actress Gloria Gay, using odds and sods to become the defining adults in William’s life and so much more.

Just William’s Luck is one of the most inventive pieces of storytelling I have ever seen.

Using buckets of physical theatre, puppetry and singing, this story is executed brilliantly.

To be honest, there is nothing I can fault about this production. I can not think of a single human being who would not enjoy this show.

The cast are buckets full of energy, vibrancy and a jolly good sense of humour which makes them all fantastic and engaging storytellers.

They are flexible and any small mistakes that happen in the show become utterly perfect and enjoyable as you can see how clearly they all have each other’s back.

I loved this show! Plain and simple, I utterly loved it!

If you are at the Edinburgh Fringe this summer and want to have a jolly good hour of your life, then go and see this show!

My wish as a reviewer is that this show will continue afterwards and continue to do amazing things.

 

Denied Under Section 221(g) of the Immigration and Nationality Act by Connie Wookey @ South London Theatre, West Norwood

Devised and performed by Connie Wookey

Connie Wookey (yes that is her real name) is a charming and talented performer who has composed a fun 45 minute show about some distressing topics.

Essentially a light comedy cabaret about things in life we can’t control, “Denied Under Section 221(g) of the Immigration and Nationality Act” touches on sexual harassment, malfunctioning planes and being an actress in New York, though doesn’t go into revelatory depth on any of these topics. Everything is dealt with simply, with a refreshing directness.

Some of Wookey’s songs and stories are touching, others feel a little like narrow casting – not all audiences are going to be able to identify or empathise with jokes about the vagaries of working as an actor or being middle class.

It’s an enjoyable show: a pleasant night out with an appealing host in Wookey.

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Artist’s website

Bury the Hatchet, Out of the Forest Theatre @ The Hope Theatre, Islington

24 July – 11 August

Written by Sasha Wilson, further devised by the company
Cast: Joseph Harrison, David Leopold and Sasha Wilson
Design: David Spence
Lighting Design: Will Alder
Produced by Joseph Cullen, Sarah Divall and Claire Gilbert for Out of the Forest Theatre

Photo Credits: Reg Madison/Liam Bessell

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Bury the Hatchet is a re-visiting of the famous Lizzie Borden story, performed in the black-box studio of The Hope Theatre, Islington. Upon entering we find Sasha Wilson, the actor who plays Lizzie and herself as the playwright, kneeling on the floor in a lace black dress (wearing matching Etsy style earrings of Lizzie Borden) at the centre of radiating family portraits splattered with red blood. Sasha copies details from a hefty history tome into a notebook, presumably crafting the play we’re about to see. Above, a lit hatchet dangles from a rigged loop of rope.  Stringed instruments – a violin, a banjo, etc. – crowd the back of the stage. A resonant whistle fills the space as Joseph Harrison and David Leopold enter, completing the ensemble cast, and we’re off.

What follows is an investigation of the persevering mystery, nagging happenstance, and odd Victorian social hang-ups that contributed to the peculiar and unresolved case of Lizzie Borden, who was accused of the murder of her father and step-mother by hatchet in 1892. (Lizzie Borden took an axe, And gave her mother forty whacks…etc.)

In the play, Sasha claims that she initially set out to write a historically accurate show. What results is an interesting frisson between Lizzie Borden pop-lore, the dramatisation of primary sources and the beginning of the playwright’s inquiry into both Lizzie’s motivation and her own fascination with the story, set to a gorgeous prairie bluegrass soundtrack.

Sasha’s exploration feels strongest when the playwright reflects on what she finds interesting about the murder and its circumstance – weaving together a possible psychology for Lizzie, before revising her theories with a new set of supporting facts. Her desire to find something else in Lizzie’s motivations, and Lizzie’s relationships with her sister Emma and the family maid Bridget, even if only through supposition, brings new life to the nursery rhyme.

Joseph Harrison and David Leopold had a markedly generous energy and seamlessly led the audience through the thorny mystery, expertly playing a bevvy of supporting characters. The ensemble was silly and charming, the piece defined by a meta-humour that buoyed along the more serious themes, allowing a critique of the original trial, both with facts, fictions and digressions.

The atmosphere was intimate and immersive, aided by a subtle choreographed movement, well-articulated by the actors and magnetic in the space. Within the studio, Will Alder created a moody, oil-painting lighting scape, with wisps of more electric horror, highlighting the ensemble’s striking arrangements (both musical/physical) beneath the ever-hanging hatchet.

The style sang best when it positioned its author as architect of the inquiry. Sasha Wilson is particularly compelling when she filters Lizzie through the lens of her own experience, reflecting on the awakening Lizzie might have felt after her first European tour, or interrogating her own relationship with death. While the details of the crime are teasingly interesting, the question of what is true remains locked in time and I found the pursuit of what might be understood, or re-interpreted from the vantage of now, to be far more engaging.

Overall, the piece was rich and evocative, expertly conjuring the feeling of vaudevillian horror as well as identifying something at the heart of our ongoing fascination with “guilty” true crime celebrities and Lizzie’s relatable, out of time refusal to have less.

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Bluebird @ The Space  

24 July – 4 August, 2018

by Simon Stephens
Directed by Adam Hemming
Presented by Space Productions

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I ventured to The Space in East London on a warm Wednesday evening to watch Bluebird by Olivier award-winning playwright Simon Stephens, and I have no regrets. Upon entering the square black box theatre I was surprised by the dynamic staging of a raised platform shaped as a cross with seating in each corner. As I sat listening to ‘All Saints’ singing ‘Never ever have I ever felt so low…’ (on hindsight, a perfect choice) nothing could prepare me for the stories I was about to be told (and how brilliantly they were told!).

We followed the working day of taxi driver Jimmy Macneill, played by the incredibly talented John Kearne, as he drives a diverse range of people down the streets of London. Within the scene’s each ‘fare’ (the person getting the taxi) opens up to Jimmy, sharing secrets, experiences and opinions. This text-based show could have been a lengthy nightmare. However, it was successfully put together by the director Adam Hemming who obviously had an eye for detail, which is incredibly important in such an intimate space. Each scene was given the space to breathe yet kept its pace, and the text was certainly the focus (as it should be with Simon Stephen’s words!). The naturalistic style was on point, especially the driving by John Kearne, and it allowed us to be completely immersed in the characters and their stories.

Subtle, yet effective transitions lead our eyes to different points of the stage and were an essential break between the emotional storytelling. Similarly the props and set were minimal and always relevant. It is important for the space to not be overcrowded when the focus is on the actors, especially when you have a cast like this one! I was blown away by the talent on stage; one of the first ‘fares’ in Jimmy’s taxi was Robert Greenwood, played by the captivating Mike Duran who delivered his monologue with such honesty and emotion that I could not hold help but hang off his every word. Similarly, Anna Dolan, who played the role of Jimmy’s wife Clare Macneill, was a force to be reckoned with. She is the type of actress I could watch perform every night for a year and still be amazed.

Space productions drove me to reflect on my own life, and consider the hopes and regrets people live with each day. An incredible piece of writing matched with an incredible cast… you would be crazy not to go see it!

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Lamplighters, Rogue Productions @ The Old Red Lion Theatre

24 July – 18 August 2018

Created by Neil Connolly and Dean Rodgers
Rogue Productions

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Winner of the London’s VAULT Festival 2018’s People’s Choice Award, Lamplighters is a hard-to-forget night out. Neil Connolly plays host in a part spy-thriller, part improv-comedy farse that sees it’s audience moonlight as secret agents with hysterical results.

The show takes you through a very familiar spy adventure plot with clandestine meetings and high-pressure heists. The catch is that Connoly himself only hosts, every shady character, corpse, location, mission objective and piece of musical score, is plucked from the audience.

It’s just a ton of fun. No other way to put it. Even if you don’t want to participate, this show will have you in stitches.

Connoly is a magnetic and very charismatic host. the mechanics of the show’s gameplay is very clever, the lights and props and staging work wonderfully to enhance and create all sorts of comedic effects, which are entirely participatory in the shows descending chaos.

As with all improv comedy, I imagine it’s very dependant on the audience on the night. I was lucky enough to be in a group who revelled in the experience as much as Neil himself did, and who happened to be hilarious in their own right. It was a big bonus for me, but I can guess that even on a bad night this will be a show that leaves you grinning from ear-to-ear.

If you are looking for a good night out with a mate, look no further.

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Weird, Some Riot Theatre @ Theatre503

21st-22nd July @ Theatre503

1st-27th August @ Bunker Two – Pleasance Courtyard

Written by Lucy Burke

Directed by Peter Taylor

Performed by Amy Doyle

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WEIRD is Some Riot’s Theatre current production travelling up to the Edinburgh Fringe this summer. Prior to this, they have produced an array of work including Glitter Punch which was awarded the People’s Choice Award at this year’s Vault festival.

WEIRD is a production about one woman’s battle with mental health issues, primarily, OCD and depression.

This piece is timely.

Mental health is a hot topic at the moment.

More conversations are being had.

And it is a theme being thoroughly explored in the creative industry at present, with productions like Milly Thomas’ Dust now getting it’s transfer to Trafalgar Studios.

In WEIRD, a young girl called Yasmin has had to defer her final year of university due to her OCD and depression.

Amy Doyle brought youth and dashings of humour to a character who could have been unrelentlessly sad.

Lucy Burke’s writing veered more towards humour which was refreshing. It is all to easy to allow a piece like this, to wallow in it’s sadness but the humour of the script and versatility of Amy Doyle’s performance gave the audience the chance to explore fully the ins and outs of OCD sufferers whilst also being able to laugh at the sheer madness and oddness of the condition itself.

This is how the stigma of mental health needs to be broken. With productions like WEIRD examining the condition without taking themselves too seriously.

Amy Doyle’s clear transitions in physicality explored Yasmin’s interactions with friends and family. This was seamless and done without pantomime. I must admit, there were a few glitches when the tempo increased in conversations with Yasmin and her sister and the definition became slightly messy but this was an Edinburgh preview, so I’m sure it will be something that is worked out.

Lighting and sound transitions worked really well allowing us breathing space between each interlude of Yasmin’s present life.

For me, the ending didn’t work. There was not enough clarity in the ending and I was unsure as to what had actually just happened and it didn’t make a clear enough statement.

This was a well conceived and performed production exploring mental health in a humorous and refreshing way.

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Where the Hell is Bernard, Haste Theatre @ Blue Elephant Theatre

10th July, 2018
Haste Theatre
Featuring: Elly Beaman Brinklow, Jesse Dupré, Valeria Ross, and Sophie Taylor

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Image credit: Rarar Su

Haste Theatre’s current work in progress, Where the Hell is Bernard?, is an exploration of a dystopian future in which people live dreary, monotonous lives devoid of any pleasure or individuality, controlled by an authoritarian power known as the Vine. The story follows Pod 17, a unit of four women who dress in matching platinum blonde wigs and shapeless khaki jumpsuits and move, work, and live in unison and silence. When citizens are “evaporated” at age 50, it is Pod 17’s job to sort through their possessions and assign them to new pods for reuse. However, one day a citizen named Bernard does the unthinkable: rather than proudly stepping up for the honour of this death, he defies the social conditioning and ends up on the run. Pod 17, left holding a box of his posessions and clothes, finds cryptic and poetic instructions hidden within them, encouraging them too to break free from the Vine and embark on an adventure to discover themselves and the humanity denied to them.

This performance is a creative mix of mime, live song, movement, clowning, and abstract dystopian drama. With only six characters including the disembodied voice of the Vine and Bernard’s spiritual presence, portrayed by the four onstage actors through puppetry and mime, we see the futuristic society solely through the Pod’s experiences. The set, designed by Georgia de Grey, is flexible enough to stand in for a number of settings, from factory-style office to nursery to nightclub to forest, and is reminiscent of classic 70s-era sci-fi: white, glowing, and minimalistic.

In fact, much of the atmosphere of the piece is very much like twentieth-century sci-fi, with its anxiety about totalitarianism, the future, state surveillance, technology, and loss of connection to nature and maternity – it was impossible not to think of Fahrenheit 451 as the pod members explored an outlawed library. This re-emergence of narratives from the Cold War is a trend which reflects the current sociopolitical climate, most obvious in the success of the recent TV serialisation of The Handmaid’s Tale; however, in this new era of dystopic “speculative fiction”, the centre of the thematic anxiety tends no longer to be technology, but rather humanity, and this is also true of Where the Hell is Bernard. Although the core of the Vine seems to be a giant glittering server, and its maternal/authoritarian disembodied voice has hints of AI about it, an exceedingly clever twist on the ending suggested that instead, the villain of this story is an inherent part of the human condition. Can the new generation tear down a broken and oppressive system in order to create a newer, fairer, freer society? Or are we doomed to repeat the mistakes of our parents? Is all social struggle pointless if the powerless are always corrupted by power as soon as they attain it? Even if none of the concepts in this show were exactly innovative, their presentation through this type of performance art was ambitious, and the ending helped create the payoff which the piece had lacked up until that point.

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Image credit: Rarar Su

This is not a finished work, evidenced by some discrepancies between the events onstage and the plot description online, as well as a number of plot holes and issues with the fictional world’s lore (if pod members are all totally uniforms and identity-less, why do the “evaporated” citizens seem to have been allowed such unique costumes and possessions, and why are they being recycled on an individual scale? Why are the pod members literate if reading is banned and not necessary for their work? If the Vine is so omniscient and omnipotent, why do they struggle so to catch the four pod members on the run? Why was there a forbidden rave club apparently up and running for the women to experience alcohol and flirtation, and who was there with them?). However, the abstract, surreal nature of the shows was such that I was able to mostly suspend my disbelief and enjoy the beautiful synchronicity and dissonance of the performance before me, and contemplate its questions and themes without examining too closely the vehicles used to take me there. I expect, too, that many of the flaws will be ironed out in further development, and that when I drop by Assembly George Square to see them during their Edinburgh run, the show will be of even higher quality. So, taking into account the in-development of this piece, its ambition, the skill of the performers and devisers, and the way it made me turn it over and over in my mind afterwards, I am satisfied that Where the Hell is Bernard? is deserving of four stars.

 

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Apologies to Blue Elephant and Haste Theatre for the tardiness of this review.

Pigspurt’s Daughter, Daisy Campbell @ Hampstead Theatre

11th – 14th July 2018
Written and Performed by Daisy Campbell

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In Pigspurt’s Daughter, Daisy Campbell marks the 10-year anniversary of her father cult theatre figure Ken Campbell’s death.

At the beginning of the show, Daisy Campbell tells us that she has been putting off sorting through the artefacts of her father’s theatrical legacy for the decade since.

The stage reflects this, boxed shelves display comedy props such as Ken’s joke-shop dick nose and laughing mirror (his cure for depression), posters from his many shows, media quotes, close-ups of his buttocks shaped nose, his notebooks, The Illuminatus Trilogy that he famously adapted, and other texts that have informed his work; a shrine-cum-studio-cum-storage unit amongst which Daisy performs her first one-woman show.

Daisy invokes her father’s legacy as a comedic genius and experimental theatre-maker, telling his stories; performing a nasally Ken Campbell instantly recognisable to the audience. Daisy’s childhood was spent watching her father’s one-man shows, hanging out in the Hackney Marshes where they lived on their boat The Snark, and attending Robert Mckee’s Story Structure Course. Daisy has used this education to architect a memoir fitting of a master storyteller.

Daisy Campbell is a spell-binding performer – confident, charismatic and enticing as she weaves together seemingly disparate events and ideas into a swirling tapestry of meaning (and mycelium). Early in the show Daisy relates the findings of the split-self experiments of neuroscientist Gazzaniga, the contents of which she encountered in an old documentary narrated by her father. Daisy explains that there is a gap where the self should be and what in fact inhabits that gap, according to Gazzaniga, is our interpreter, or as Daisy prefers to put it, her storyteller. The storyteller’s job is to make sense of the world, creating the illusion of meaning and purpose, only masquerading as the Self. As Robert Mckee puts it, the story exists in The Gap between expectation and what’s really happening. Incidentally, Mckee thought Ken Campbell was the greatest storyteller he ever met.

Daisy becomes suspect of her own storyteller and its “soap-opera sensibilities”, and decides to feed it a glut of story set-ups, mystifying it by handing out tarot cards to friends without explanation or the possibility of pay-off, challenging the storyteller’s ability to produce meaning, and so in over-drive, it finds meaning in everything. Daisy reports how things get weird when you mess with your storyteller, but this is just the beginning as Daisy begins to see and find Gaps everywhere.

Through a series of semi-serendipitous events, threaded together like the hyphae of the recurring image of the mycelium, Daisy is possessed by her father’s demonic character Pigspurt, (from his Evening Standard Critic’s Choice Best Comedy awarded show at the National Theatre of the same name) through an accident of gastromancy, a rectal invocation of dead spirits. (In the original NT production of Pigspurt, the demon is finally exorcised when Ken finds the female buttocks that matches the shape of his nose.)

Her father as Pigspurt takes over the voice of her storyteller, making a deal with Daisy that she can use Ken’s old stories if she promises to drive the story to the end of the line, to find Robert Mckee’s Negation of the Negation, and so to go farther than her father. So naturally, Daisy begins seeking the solution to exorcise Pigspurt, to get her father out of her arse so she can then figuratively get out from inside his arse and locate her missing Self. Daisy references the disappointment she was to Ken for not becoming a Russian gymnast or someone who whazzes particles together at CERN in Switzerland.

If the ideas in the show seem dense, complex and the allusions sometimes lofty, they are. But Daisy Campbell is a compelling, warm guide through these entwined ideas, inventing the perfect theatrical vessel to honour her father, and the worldview and stories she inherited from him. And she’s just so outrageously funny doing it, her charm, irresistible; on the knife-edge between child-like and preternaturally canny.

The play crept up on themes of grief, loss and love without a hint of the performative pain that sometimes rides shotgun to these topics, addressing instead the feeling that is revealed by these experiences, of a collapsing narrative; and the sensation of a Gap where your Self should be.

And while you might be tempted to reduce the piece to its thematic jus like I have just done, the strength of the work lies in its refusal to be simplified. The power of the story is in its swirling associations and circuitous exploration of the Gap and the Self, complicating the need for definition with its form, artfully hijacking narrative to ultimately discredit it.

Daisy both questions the compulsion to create meaning and fill “the Gap” while also enriching the autobiographical show with the many fictions that were the foundation of Ken and Daisy’s relationship. While it’s very clever, it’s also just full of really entertaining, outlandish micro-stories and robust comedy.

Daisy does provide Act 3 pay-offs, the Negation of the Negation turns out to be something hilarious and disturbing, performed in Ken’s old fat-suit. The subsequent resolution is so Hollywood and comparatively clichéd within the overall show, that fresh surprise is found in the obviousness of its revelation; a tongue-in-cheek ending provided after Daisy has spent the last 2 hours challenging our desire for a recognisable narrative arc (re:protuberance). As Daisy confirms in conversation with her dead father, she made narrative the antagonist. Her way of seeing the world, a hallucinogenic.

The structure may at some points feel convoluted, but I think this show is comedic, meticulously crafted genius and a joyful ride from start to finish. You don’t need to be familiar with Ken Campbell’s work, Daisy does a fantastic job of bringing the man to life in front of you, and produces a show that services the idea of him as a beloved public figure while still illuminating a relationship, if peculiar, between a child and parent who was larger than life, and the need to live up to and beyond them.

As Ken Campbell used to say, “Critics never tell the truth, namely that in actual fact it’s all bollocks”. As I couldn’t resist such an easy feed, this show is hilarious, human, esoteric, relatable, dizzying, exceptional bollocks.

31 August        The British Library, London

9 September   Slung Low’s The Hub, Leeds

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