Inspired by the later life of abstract artist Roger Hilton CBE, when he effectively lived in self-imposed exile, Botallack O’Clock is a black comedy by playwright Eddie Elks that delves into the complicated and often melancholic world of the creative mind.
Set in a dingy basement bedroom, the play tells the story of a fictional early morning in the life of Hilton, played by Dan Frost, in which he imagines himself as a guest on the radio show Desert Island Discs. This is played out by Frost conversing directly with an old radio that proceeds to play the role of the interviewer on Hilton’s imaginary show. These interactions are sharp and the main source of the play’s humour, particularly when the bodiless voice annoys Hilton to the point where he beats the radio with his paint brush. Basic physical comedy, I know, but hilarious nonetheless. Whilst the show does contain a good helping of laughter, it is the journey that the audience goes on into Hilton’s psyche that is the real crux of the play. Frost’s soliloquies are poignant and well measured; he truly gets inside the character and makes you believe he himself might be losing his mind right in front of you. Adding to this is an excellent classic music score that comes from the Desert Island Disc premise and lends weight to a number of the more emotionally complex scenes.
Botallack O’Clock and Frost deliver at every turn due to excellent writing and acting. It is a rare combination of funny and thought-provoking, capturing the audience’s attention from the first glass of Bells poured to the last, without ever letting go.