Or nearest offer is a good example of a play where the form restrained
the content greatly. The collaborative work of Young Friends of Almeida
writer Tanya Ronder and director Vik Sivalingham this play sought to
give voice to the teenage experience. The result, while clearly having
its heart in the right place, was really quite poor. The half dozen or
so intermingling stories had a few minutes each and we really only saw
a Readers Digest, if even, of each one. Perhaps unleashed from a stage,
we might have encountered a more honest portrayal.
The script - based on the words of the young people involved but "expertly crafted" by Ronder was, in fact, abysmal, by far the worst element of the show. Peppered with bits of non-philosophy and hyper-cliched dialogue there was precious little sense of craftmanship here. This, for me, was a simplified vision of teenagers, relying on hackneyed over mediatised stereotypes and a limp attempt to counter them. That being said there were some decently comic moments and an occasional hint of genuine text. I do not feel a "new writing" approach was ever going to work here.
Many of these young performers are going to drama school or have ambitions for the stage. On the evidence tonight some may well make it. Naomi Ackie has a gifted singing voice and one hopes that is a talent that is grown in the years to come. Plus Abitegeka has a very commanding stage presence and definitely has a watchable quality. Mollie Keane's quietly assured performance grew as the play progressed. It has to be said that everyone performed with commitment and energy, but usually lacked the clarity of moment or exactitude of speech to really make it work. The heavy handed traces of direction were present throughout and could have been done without.
Work of this nature is often not judged on its quality but rather on the context (young people giving live performance a good go). I think that does a disservice to the work and those who make it. However, even in my most dispassionate viewing I do believe that this show's faults lie with the adults involved. So many of the structural and conceptual frameworks simply didn't work and could not have worked. I applaud the intent of such work, but the process and the underlying creative vision must be rigorous if those voices that are supposedly being portrayed are to be heard.
Until tomorrow. Almeida box office 02073594404.
- James Grogan.
The script - based on the words of the young people involved but "expertly crafted" by Ronder was, in fact, abysmal, by far the worst element of the show. Peppered with bits of non-philosophy and hyper-cliched dialogue there was precious little sense of craftmanship here. This, for me, was a simplified vision of teenagers, relying on hackneyed over mediatised stereotypes and a limp attempt to counter them. That being said there were some decently comic moments and an occasional hint of genuine text. I do not feel a "new writing" approach was ever going to work here.
Many of these young performers are going to drama school or have ambitions for the stage. On the evidence tonight some may well make it. Naomi Ackie has a gifted singing voice and one hopes that is a talent that is grown in the years to come. Plus Abitegeka has a very commanding stage presence and definitely has a watchable quality. Mollie Keane's quietly assured performance grew as the play progressed. It has to be said that everyone performed with commitment and energy, but usually lacked the clarity of moment or exactitude of speech to really make it work. The heavy handed traces of direction were present throughout and could have been done without.
Work of this nature is often not judged on its quality but rather on the context (young people giving live performance a good go). I think that does a disservice to the work and those who make it. However, even in my most dispassionate viewing I do believe that this show's faults lie with the adults involved. So many of the structural and conceptual frameworks simply didn't work and could not have worked. I applaud the intent of such work, but the process and the underlying creative vision must be rigorous if those voices that are supposedly being portrayed are to be heard.
Until tomorrow. Almeida box office 02073594404.
- James Grogan.
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