Skratchwerk Review - 22/05/08

New writings, new movements.

 

The Skratchwerk platform of staged readings of new writing and recently devised work has been one of the highlights of The Accidental Festival so far this year. The sheer variety of work on show was perhaps the most impressive element. Everything from a staged scene from a film set in Somerset, to a movement piece about the joy in a well constructed sandwich was there for viewing. The relaxed atmosphere where the audience were asked for thoughts, feedback and ideas was sustained throughout. A panel of experts were on hand to provide further thoughts and reflections on the works, all of which are in some stage of development. All of these writers and performers are ones to look out for, and as such we have briefly described them all below.

 

 

Blurred Contours, by Alec Orchard-Lisle; directed by Goo Birks, performed by Dickon Tyrrell and Joanne Ferguson.

 

While the idea of staging a film script is problematic and maybe hindered rather than facilitated our engagement with this excellent script, its qualities did shine through in the hands of two skilled actors. Set in rural Somerset, Nathan and Sarah run a farm together. She ventures out into town and is gone for the whole day. He is distant and irritable on her return. Clearly there's a wedge driven between them. This finely crafted script raises more questions than it answers - the exposition is subtle and measured, the dialogue convincing and compelling, the attention to detail excellent. Part of a multi-narrative film script under construction, this portion of the text told us something of the intricate and delicate human relations that exist everywhere, and suggested they are perhaps even more fragile and important in the isolation of the country-side.

 

 

Prometheus, by Gareth Martin; performed by Gareth Martin.

 

This wonderfully original monologue uncovered many uses for one's shirt. Martin, a skilled puppeteer, found a multitude of ways to portray a character using the shirt as object, cage and canvas. The seemingly random and messy transitions just made the crystallisation of the form, when it came, even more satisfying. Walking comfortably the borders between visual comedy and verbal meditation, this piece was well-written, vibrant and vitally performed. One observation from the audience, that the character could be an old man struggling with his shirt in a department store changing room, provided a visual context that would have added much to this work in progress. This is the type of versatile piece that could have worked as stand-up, straight monologue or unsettling performance art.

 

 

Life at the Molecular Level, by Present Attempt.

 

In what was described as a live-devised piece, three men, dressed in boxer shorts and socks, enacted a documentary about a man who travels in to the upper reaches of the Earth's atmosphere. Part of a larger devised piece, the three sections we witnessed as part of this showing would have formed a series of interludes between other scenes. The convention of the piece appeared to be that when a mistake was made the three would rewind and start that section again. This highly satisfying aspect of the piece, combined with some quick thinking improvisation, maintained a good level of tension throughout. While focusing perhaps too completely on the comedy and not allowing the genuinely tender moments which were present to come through, this piece clearly had an excellent potential to become fully formed.

 

 

Object, Image, Photo, by Nessah Muthy; performed by Hassan Dixon and Charlotte George.

 

The tension of this excellently written piece is palpable from the off. There is a particular sense of savage use and abuse of trust by the seemingly vicious, calculated and young Francesca against Johhny, an older man with learning difficulties. Fuelled by a desire to court media fame and celebrity, Francesca seems incapable of concern for anyone but herself. Some of the feedback for this piece was that perhaps Francesca could be a more multi-faceted character, use more tactics and ways to achieve what she wants. While more variety and depth to the characterisation would benefit this piece, the characters presented were well considered and nicely formed. Francesca's motives and history are clearly a little more fragile than they appear on the outside, and it would appear abuse is following abuse. The prose-like opening description and the filmic qualities of this piece suggest that this writer could turn her talents to a variety of forms.

 

 

But Seriously though..., by Anna Martine and Greg Bartlett; performed by Anna Martine and Greg Bartlett.

 

Viewing the progression of a relationship in reverse, this positive and affirming piece of theatre, sensitively and simply staged, felt natural and flowed beautifully throughout. Charting the moments of possibility within a relationship, where one small decision or contextual different could change everything, speaks to the random but still affirming basis of all human relations. Knowing where this story-in-reverse ended meant that, unlike much theatre about couples, we knew we were not in for an unhappy ending. That liberated both the performers and the audience to simply enjoy the material on show. Born from improvisation, this piece fitted together so naturally. The text was of the best and most honest naturalism that could be hoped for, and does make one wonder if scripted naturalism can ever really work in comparison. An excellent piece by two very accomplished actors.

 

 

Untitled, by Anna Martine and Michael Brett; performed by Anna Martine.

 

This tender and positive piece revelled in its simplicity. The use of the words "Nice" and "Nicer" made such simple but considered linguistic sense. Performed with utter selflessness and relish by Anna Martine, this piece demonstrated that great actors need very few words to communicate everything they need. It was a real boiled down essence of script, describing just a few of the things this character enjoys in life - well made sandwiches, ginger nut biscuits, tea. The joy in the performance struck a wonderful chord with the audience, reminding us that perhaps one should enjoy those small joys in life with the same gusto and energy with which we tend to our small problems.

 

 

Milieu, by Alan Fielden; performed by Rose Lewenstein, Sean McKenna and Daniel Cecil.

 

Meditative and carefully crafted, this piece suffered from its position at the end of a long session of play readings. Perhaps the most literary of the works we heard all night, Alan Fielden's text was a study in considered storytelling. Three characters find themselves on a balcony while the social cogs turn inside, backed into a corner alone, perhaps none of them feel as though they belong elsewhere. Not connected by class, occupation or interests, these three storytellers are brought together by self-deselection from the social world elsewhere. In the hands of actors and a director who really understand Fielden's words, this work would soar above all others. As with many of the pieces seen in this exceptional night of performances, the script on display here bodes well for the reinvigoration and continuing diversity in theatre today.


- James Grogan