What I Learned From Johnny Bevan
  • By Tom King
  • |
  • 22nd Aug 2015
  • |
  • ★★★★★

It’s easy to get lulled by the constant flow of shows at the Fringe, to give in the mid-afternoon slump and the heavy-eyed semi-slumber. At times like this, what is needed is a play that shocks you upright; that makes your heart beat faster, that punches you right in the chest. What I Learned from Johnny Bevan couldn’t have hit me harder.

What I Learned from Johnny Bevan is what I come to the Fringe for.

Harking back to an older time of socially-aware spoken word, this stream-of-consciousness poetry-play takes us back to the mid-Nineties through the memories of Nick, an embittered newspaper hack snapped back to his student days and formative friendship with the titular Johnny by the discovery that an important part of his youth has fallen victim to the hipster-chic of modern media London.

Luke Wright’s verse is the star of this show and we are carried effortlessly along by the swooping flows, vivid pictures and twisting internal rhymes of the lines that pour from him with nary a breath taken. As Jonny, Wright's snarling punk-politic poet patter carries with it an energy and rage as sharp as the jangling chords that provide its backing track; as Nick, the starry-eyed admiration and love he has for his spikily-charismatic friend lifts us, balancing the cynicism with pure joy. Finally, Nick's sadness over the drifting of his friendship with Johnny brings with it a pang for the lost passion of youth - a universal theme for older audience members and a salutary warning for the young.

What makes this play particularly affecting is its timeliness. In Johnny we’re reminded of a long-dormant need in the British public - the memory of a time when politics was more vivid before the beige apathy of the new Millennium set in, when people truly believed that their vote and their voice made a difference. The twin paths Johnny and Nick take as they are increasingly disappointed by Blair’s New Labour, one selling out, one burning out, give us a glimpse at two ways we could react to the current situation and ask us to choose which represents a life truly lived for us.

A densely-packed and deftly-woven banner for young Britain's political reawakening, What I Learned from Johnny Bevan is what I come to the Fringe for: writing that not only captures you in the theatre but also stays with you for days afterwards.

Reviews by Tom King

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★★★
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Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

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

At university, two worlds collide. Johnny Bevan, the whip-smart, mercurial kid from a city council estate, saves Nick Burton from living his father’s safe life, but it ends tragically. Years later, a world-weary Nick is reminded of their friendship. Can Johnny save Nick again? Luke Wright makes his theatre debut with a story of friendship, class and a really bad idea for a festival. All told in beautifully deft and funny verse and scored on guitar by Ian Catskilken (Art Brut). ‘Some of the most incisive writing you’ll see’ (Exeunt.Magazine.com). ***** (Scotsman, List).

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