How refreshing to find a performance that is unafraid to be difficult, unwilling to indulge you in laughter and struggles against its own confines to great effect. These young performers would put many professional companies here in Edinburgh to shame. While Quaternary (which, as I had expected, I was mispronouncing, think of centenary) is far from a perfect play, it is a strong statement by these compelling performers.
The story follows the five characters as they take a trip to Iceland and is based on Milton's Paradise Lost. They face a series of struggles against circumstance and each other, sometimes delving into a psychological demi-hell. It does all sound very teen angst, and there are moments when you feel they are indulging themselves, but usually the show avoid pretension entirely.
The performers - Faraz Aghaei, Theodore Chester, Angus Hodder, William Morland and Thomas Rebuffa - have a strong exactitude in their movements. They, at times, have a disarming honesty to their performances and even when the volume is turned up and it all gets rather frenetic, they still have control over themselves enough to keep it together. At times they talk about going on to university and one hopes that that experience will include further explorations of theatre and performance, and, indeed, that we may see them again at the Fringe and elsewhere.
Some issues with the show included the rather unnecessary projections of the title of the scene. We found out we were seeing the "Fall of Man", and "Hell". So clearly stating the purpose of what was otherwise a scene removed, appropriately, from its source material, was tiresome. I also think that using strobe lighting to depict a sort of psychological breakdown was a little obvious and went against the spirit of the piece.
The sound design, by Jamie Flockton, was very powerful and evocative and created another layer of subtle aural imagery which always complimented and never over-shone the performances. The lighting design (with the exception of the strobe) by Guy Emerson was also strong. The design elements - uncredited on the programme - were economical and always served their purpose well. There were buckets filled with water into which heads were dunked; ladders which were precariously balanced while a monologue was being performed; lots of stones that seemed to be a key motif throughout.
While the references of stated "influences", such as Forced Entertainment, were a little heavy handed and I suspect could have been done without, this exact, strong and brave performance, by strokes confessional and visceral, is a very strong statement.
7 out of 10.
At C Soco (Studio 3) at 5.35pm.
- James Grogan
The story follows the five characters as they take a trip to Iceland and is based on Milton's Paradise Lost. They face a series of struggles against circumstance and each other, sometimes delving into a psychological demi-hell. It does all sound very teen angst, and there are moments when you feel they are indulging themselves, but usually the show avoid pretension entirely.
The performers - Faraz Aghaei, Theodore Chester, Angus Hodder, William Morland and Thomas Rebuffa - have a strong exactitude in their movements. They, at times, have a disarming honesty to their performances and even when the volume is turned up and it all gets rather frenetic, they still have control over themselves enough to keep it together. At times they talk about going on to university and one hopes that that experience will include further explorations of theatre and performance, and, indeed, that we may see them again at the Fringe and elsewhere.
Some issues with the show included the rather unnecessary projections of the title of the scene. We found out we were seeing the "Fall of Man", and "Hell". So clearly stating the purpose of what was otherwise a scene removed, appropriately, from its source material, was tiresome. I also think that using strobe lighting to depict a sort of psychological breakdown was a little obvious and went against the spirit of the piece.
The sound design, by Jamie Flockton, was very powerful and evocative and created another layer of subtle aural imagery which always complimented and never over-shone the performances. The lighting design (with the exception of the strobe) by Guy Emerson was also strong. The design elements - uncredited on the programme - were economical and always served their purpose well. There were buckets filled with water into which heads were dunked; ladders which were precariously balanced while a monologue was being performed; lots of stones that seemed to be a key motif throughout.
While the references of stated "influences", such as Forced Entertainment, were a little heavy handed and I suspect could have been done without, this exact, strong and brave performance, by strokes confessional and visceral, is a very strong statement.
7 out of 10.
At C Soco (Studio 3) at 5.35pm.
- James Grogan
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