Jim Cartwright’s challenging play, first produced in 1986, is resurrected with focus by this young company. Although written about Thatcher’s era, the themes of limited opportunities and encroaching poverty, presented through a town of characters, still resonate with today’s levels of unemployment and political disillusionment.
A variety of characters cross the same road, in different directions, all searching desperately for a moment of escapism from their desolate existences. They employ different methods and tools; alcohol, records, hunger strikes, but ultimately none of them manages to escape their bleak situations. Unfortunately, this atmosphere of hopelessness is explored in much the same way throughout the changing characters and situations.
Despite exploring the depth of human despair and disillusionment, there are refreshing moments of humour, relished by the audience. Confident female drinkers provide some such valuable comic relief. Particularly reviving was the pairing of an enthusiastic lover with an intoxicated young soldier, which featured strong characterisation, considerable stage presence, and a real sense of comedy from the lady of the affair, who gives a highly amusing performance.
Challenging characters are inhabited with commitment, and some competent performances emerge. Joey is particularly well performed, and his melancholy ramblings are rather haunting. The despondency of these characters is perhaps best exemplified by Joey’s girlfriend, who is willing to join him in a hunger strike despite his inability to express any rationale for this action other than the fact that it is not merely continuing with life as it is.
The driving force of the production is narrator figure Scullery, who gives an assured and engaging performance. His direct address was warm and confident, guiding the audience through the street with charm and humour. He provided energy throughout, and played an observational role somewhat like a Shakespearean clown.
However, despite Scullery’s energy, the bleak content unfortunately leaked into the performance, slowing the pace until in parts it dragged. After Margaret Thatcher’s recent death, it is an interesting time to perform this play, and it certainly speaks to our generation. Although the company succeed in portraying the desire for escape, they would have benefitted from greater development of the comedic potential, which might have highlighted the desolation through contrast, rather than dwelling.
