Ed Oulton booked his studio at Theatre Peckham as part of their Fringe programme before he’d written Barrier to Entry. Two months later, coinciding with his twenty-second birthday, he was on stage performing it. That’s some achievement, but it’s more than matched by the quality of his writing and performance.
A joyous piece of theatre that touches the heart and mind whilst being highly entertaining
His solo show is the captivating story of Connor, a young Scouse lad whose disposition is at odds with the school system and the national curriculum. It opens as Commor is about to sit his maths GCSE exam. Not just as any sixteen-year-old might; he’s been there and done that. No. This is his third attempt. The first was a regular failure; the second a deliberate act of rebellion, but this time it really matters and he’s sincere about passing, because if he doesn’t the life-changing opportunity that awaits him might disappear forever. Maths is his barrier to entry, because the government has decided that everyone must have that to get on a course to further themselves.
There are probably many former and present students for whom this play will resonate. Connor post-dates the discredited 11+ exam that would have been another hurdle for him to jump over. That system of selection split the nation; it gave a boost to the careers and egos of approximately 20% of the population while leaving the rest deflated. The results of the exam were only the beginning of the divisiveness that followed. While the elite went on to study modern languages and transitional academic subjects, the rest were consigned to workshops to turn wood and hammer metal, though some basic subjects they had in common. Like Connor many became misfits in a system that wasn’t geared to their needs, interests or abilities.
Connor is at a posh school at a cost to his parents, as his headteacher never fails to remind him, just to put him down a little more. There he has his older brother’s reputation to deal with; the star student who won a scholarship to the school, cost his parents nothing, excelled in everything and became head boy. Follow that. Connor can’t and he’s sick of being told by everyone that he’s not living up to the standards of his brother. It’s a poignant storyline for those who grew up with sibling rivalry of whatever sort.
One day, however, Connor finds success in a major act of rebellion. If the system is against you then go against the system. He commits a series of highly visible but anonymous acts to the acclaim of his fellow students and the outrage of prefects and staff. Although he can’t tell them it’s him, in private he can still wallow in the glory and acclaim it brings him as the perpetrator. Finally, he has something of which he can be proud. Also he discovers that the teacher who’s been supervising his studies turns out not to be his enemy but his saviour.
It’s an imaginative yet credible narrative that contains vivid vignettes along with events that inform and entertain. Oulton tells the story with conviction, impassioned by Connor’s plight and his battle against the odds. He has the voices for the characters that haunt Connor’s days and brings them to life both physically and vocally with a range of actions and accents. He tells the narrative in an open, inviting manner. He effectively utilises the region's distinctive intonation and consonant and vowel sounds to naturally raise the enjoyment level as the twists in the story unfold. Director Hector Smith keeps the design simple with a backdrop of plain white boards and a versatile chair. The intermittent projections enhance the story and the ominous digital clock effectively sets the examination-room scene.
Oulton will revise the script in the light of this first outing, but he already has a joyous piece of theatre that touches the heart and mind whilst being highly entertaining.
