KINGFISHER BLUE. To 18 June.
London
KINGFISHER BLUE
by Lin Coghlan
Bush Theatre To 18 June 2005
Mon-Sat 8pm
Runs 1hr 50min One interval
TICKETS: 020 7610 4224
www.bushtheatre.com
Review: Timothy Ramsden 20 May 2005
Good performances in a deliberately-patterned play.Lin Coghlan has written some good theatre in education scripts; despite longer scenes and stronger language her new play shares their qualities. There's the understanding of youth viewpoints, streetwise style, moral issues, opportunities for rough laughter and poetic images. One of these reflects the title, a colour peculiar to the bird that shares its name. Writing good theatre in education isn't easy and this play has the best TIE qualities, though it doesn't escape a formulaic feel.
The kingfisher concerned is a stuffed bird in a glass case, trapped as are people on the estate where the action's set, with its gunfire, gay porn and unemployment (in these days of fuller-than-ever employment?) an environment suggested by the dingy arches backing Hayden Griffin's set. This kingfisher's carried by 14-year old Ally. He doesn't appreciate its beauty; it's something he can sell. Yet he has his own dream of heaven, escaping his violent father and visiting his separated mother on Majorca.
If formal parenting patterns have fallen apart, there's a lot of informal care around. Cooper, remembering the 60s, keeps inviting the younger Denny to give up his useful but hated trade as a plumber and make big bucks with lifestyle jobs. For all Cooper's grand schemes, all we see is the trays of whelks he brings in to the run-down pub he bought out of sentimental attachment.
Denny tries helping local unemployed youths by providing informal apprenticeships. His latest is Elvis, a taciturn, incompetent youth. At first Elvis seems bottom of the social chain, but he reveals a voice for folksong (John Harris's lighting providing an enhancing glow for the occasion) and a pseudo-parental role for young Ally.
It brings misunderstanding and danger, which Ally's rejection by his mother turns to a drink-and-drug fuelled suicide attempt. For a reason I didn't notice things suddenly turn out all right; even an anchoring downbeat end for one character is given a wistful warmth.
Here's a highly efficient production of a play with some strong moments. But there remains a sense of something manufactured to a pattern, rather than real life.
Denny: Doug Allen
Elvis: Toby Alexander
Ally: Josef Altin
Cooper: Paul Moriarty
Director: Paul Miller
Designer: Hayden Griffin
Lighting: John Harris
Sound: Rich Walsh
2005-05-22 08:12:26