Tell Me Anything

Fifteen-year-old David Ralfe knows that with “warmth, guidance, and gentle nudging”, Kate, his anorexic girlfriend, can be guided towards a healthier existence. But life is always messier than its theoretical counterpart — and there is just so much mess to contend with: Kate’s family, who don’t know and then don’t want to know about their daughter’s illness; an incompetent, patronising NHS; and Ralfe’s own desire for control. Although (his diary insists) he is “pretty cool under pressure”, this might just be too much for anyone to deal with.

demonstrates a masterful control over the audience’s emotions, yanking heartstrings this way and that

Over a decade later, standing onstage in Summerhall, Ralfe’s narration of his story is interweaved with excerpts from his old diary, which are full of youthful optimism, naïvety and anger — a reminder of a time when everything felt that little bit more intense. The heroin-high of being in love for the first time; frustrations with parents (his own and Kate’s), and with school; anger at his stupid, shallow schoolmates, and at glossy body-trashing magazines most of — all feature prominently. Most of all, though, the diary entries are about Kate: Tell Me Anything is a chronicle of the near-intolerable joys of utter devotion, and the aching sadness of seeing a loved one wither.

The set is minimal, yet phenomenally effective, supplementing Ralfe’s strikingly honest performance with a rich layer of visual storytelling. A metal chair and glass cube occupy either end of the stage, which is otherwise cluttered with thin, grey cylinders. Ralfe gingerly negotiates this odd, knee-high forest, occasionally disrupting the order as his 15-year-old self tries and fails again and again to assert some sense of control over the unenviable circumstances in which he finds himself.

Ralfe himself — as the writer, narrator, and partial subject — is the lynchpin of the show; so it’s fortunate that he is a capable, charming ringmaster. He demonstrated a masterful control over the audience’s emotions, yanking heartstrings this way and that, conjuring dead silence and peals of laughter as the moment demanded. (Yes, laughter: for a show about an eating disorder, Tell Me Anything is surprisingly funny.)

Like On The Run’s previous, show, So It Goes, Tell Me Anything centres on an experience which people often find too difficult to even begin to discuss. On The Run’s skill, sensitivity and uncompromising candour makes this courageous production a worthy addition to a necessary conversation.

Reviews by Jamie P Robson

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Since you’re here…

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Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
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Performances

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The Blurb

When David was 15, he loved punk, house parties and poetry. Most of all, he loved Kate. They loved each other so much it hurt. Kate has an eating disorder. But David knows he can make her better. On The Run return, following the five-star sell-out success of their debut, So It Goes, with a show about love, hopeless devotion and growing up. 'My favourite show of the Fringe' ***** (Times, So It Goes). 'This young company have a very bright future' **** (Telegraph). Directed by Christopher Harrisson (Rhum and Clay). Commissioned by Shoreditch Town Hall.

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