You enter an enclosed, somewhat claustrophobic room, to find a young woman laying on a makeshift bed. The stage layout is unhomely, with a chair lying around, a packet of cigarettes and an unopened vodka bottle. From such, themes regarding homelessness and mental health become significantly apparent, setting the scene for an absorbing production.
Homeless and on the run, but from whom? Starves offers a unique insight into social plight.
Starved is written by Michael Black, a duo-act of characters named Lad (played by Michael Black) and Lass (played by Alana Connaughton) who are homeless. The plot is simple, but it does not need to be extravagant as the lives of the protagonists are not. There is greater focus on dialogue, for their conversations of non-sequiturs expertly narrates their pitiful situation.
Michael Black has previously spoken about the lack of representation in theatre, saying ‘I didn’t think theatre was for people like me’. The Theatre has historically been classist, often seemingly exclusive only to those of high social status, of which Black once believed ‘theatre was for the ‘other’’. Theatres across the UK, notably fringe theatres, are attempting to nullify such attitudes. Starved tackles such perceptions of theatre, with cast members proudly displaying Yorkshire accents and colloquialisms, often highlighting the bias attention London(ers) receive through privilege. Working-class Britain has consistently been ignored, more so those living within the periphery in areas that once boomed during the industrial era, now facing social deprivation. For Lad and Lass, stowed away in their bedsit, within an estate, the world revolves oblivious to their existence, a strong metaphor for British politics.
Lad and Lass are not formally named. It can be argued that this serves as a method to hide their real identities whilst on the run, stealing cans of food for survival. Or merely, a ploy by the playwright to allow the audience to focus on their circumstance, for Lad and Lass is one of many living in such conditions. A swig or two of vodka, and Lass laughs at her situation whilst Lad enters an existential toil lamenting the complexities of life. Toxicity in relationships is a theme that grows strong as the play progresses, with Lad and Lass often taking out their frustrations on one another. For Lad and Lass, there is a desperation for themselves to transcend their conditions, but are unknowing of how to achieve such, often descending into trivial argument. Intertwined are humorous moments in the midst of communication breakdown, but quickly tensions are solved as Lad and Lass realise how much they are dependent on each other. Both are starved of human contact, starved of normality and they begin to wonder as to how long they can continue living a feeble existence. They are absent without leave, running from broken homes, but also running from themselves.
Audience participation feels minimal, as the circumstances of Lad and Lass are one that very few are likely to identify with. Furthermore, the enclosed nature of the bedsit through stage design allows for the audience to peer into their world, and perhaps come to terms with it, but not take part. The reality of homelessness is that it destroys, and it is very easy to reach a point of no return. Michael Black encapsulates this well, more so creating a space for working-class voices that will warm the hearts of many.
Starved is a great production, offering a chance for an authentic voice to highlight ever-present social issues in areas of the United Kingdom that suffer the most. In the midst of desolation, there is hope for Lad, Lass, and so many more.
