CALLING. To 28 July.

London

CALLING
by Deborah Espect

Old Red Lion 418 St John Street EC1V 4NJ To 28 July 2007
Tue-Sat 7.30pm
Runs 1hr 45min One interval

TICKETS: 020 7837 7816
Review: Timothy Ramsden 22 July

Humour and reality in dispatches from the mental ward.
Here’s a show for which the Fringe is made. A play in English by French writer Deborah Espect, it has shortcomings that would be noticed as thinness in texture in a larger space, where the functionalism of Alison Goldsmith’s production would be more noticeable and aspects of the trio of performances would call for more depth.

But in the Old Red Lion’s small upstairs room it all comes over strongly. The directness of performances, Goldsmith’s admirable refusal to let any tricksiness cloud the writing, and the clarity of the writing itself are well-served by this space.

All three characters are sectioned within a mental hospital; they are among the minority of patients who cannot discharge themselves. None is quite what they initially seem. Big David’s violence is apparent from the opening line, but his need for protective friendship and his gullibility emerge through the action.

Loner Scott first seems harmlessly embroiled in reading and writing, till his monomania for the girlfriend he never knew becomes as fantasy-led as an (unseen) female patient’s belief she’s been impregnated by aliens. Scott’s delusions seem likely to be fatal for one character, but Espect’s aware of the misadventure that can have fortunate as well as unhappy outcomes in this, of all, places.

It’s 17-year old Becky who seems most in control. She’s aware of how to manipulate review boards, tells the two blokes off and has a ceaseless teenage self-confidence. On the surface, and if the sexual relations with a teacher over twice her age which she seems to encourage are left out of the account.

It’s a tribute to both the writing and playing of this character that the play’s most searing moment, standing out amongst the laughter and the pity all around, comes when the confident-seeming Becky slides into a huddle, protectively pulling her jacket across her tearful face.

Jenny Harrold is excellent throughout, catching Becky’s teenage volatility, vivacity and instinctive contrast of enthusiasm and defensive screwing-up of facial features to meet any opposition. A good contrast too between Lawrence Tate’s hulking, strong but malleable David and Matt Prendergast’s insinuating, cunning Scott.

Rebecca: Jenny Harrold
David: Lawrence Tate
Scott: Matt Prendergast

Director: Alison Goldsmith
Designer: Katherine Hayes
Lighting: Charlie Charman

2007-07-23 15:01:28