33 to 04, The Space on the Mile.
Being trapped in a lift for any length of time is always a nightmare scenario – and if you don’t get on with the person you’re stuck with it must be ten times worse. Miss Arnott is a feisty determined 67-year-old on her way to theatre for an urgent, life-saving operation; the doctor accompanying her is aloof and seems uncaring. But both have deeper aspects to their personalities, which come to light through the inevitable conversations they have over the course of the hour in the lift. A smart idea, and very nicely performed, especially by the actor who plays Miss Arnott. Creatively and entertainingly written, this is an enjoyable and thought-provoking start to the day. Correct me if I’m wrong, but wouldn’t a patient be accompanied to theatre by a porter?
DNA, Greenside @ Infirmary Street.
Dennis Kelly’s DNA was written for the National Theatre Connections in 2007 and is a much studied work at GCSE. It’s a wide-ranging and action-packed play about a group of lawless, dangerous and largely unlikeable school students who go too far with their bullying games, with disastrous consequences. It exposes the ease with which new generations of feral violent warlords can be created out of reckless kids lacking a moral compass – and yes, I know I sound like a right old fuddy-duddy. The University of Southampton Students Union’s production is well performed on the whole by a large cast but some of the performers could do with modulating their voices more as the room is too small and confined for the loud volume of hysterical shouting and screeching that the play requires, which made it quite a trying experience and detracted from the enjoyment of the play.
The Stall, The Space @ Niddry Street.
Our hero – simply referred to as Son – receives a text from his father suggesting that they go out for a day of flying. The text reminds Son of the day when he was 16 when his father – who was a fighter pilot – took him up in his plane for the ride of his life. Part of this amazing experience was one particular magic moment – doing “The Stall”, a manoeuvre when the pilot deliberately loses power and sends the plane vertical to give anyone in the plane the feeling of freefall. The son doesn’t bother to respond to the text as he was going to go round to see him later that day anyway. But when he gets to his father’s house, there’s a shock in store. An intense and poetic play that conveys the message that if you love someone, make sure you tell them, as you might not get another chance. Written, performed, and directed by Jack Twelvetree, it’s a moving, tightly packed play, succinctly and powerfully told. It will remind you of your own memories with your long lost loved ones, so be prepared for a potential emotional rollercoaster.
Best Man, Underbelly George Square.
John and Rebecca have taken the plunge and got married, and who better than John’s best friend Cathal to be his best man? Trouble is, Cathal has a few unresolved issues himself, and there’s been a free bar… Colman Hayes gives a great performance as Cathal, and the premise for the show is excellent. Audience members are likely to be picked on as wedding guests, and don’t think that sitting further back will keep you safe – there are no hiding places from Cathal’s roving microphone! Mr Hayes has to keep one step ahead of the script as he never knows what curved balls the audience members/wedding guests might send his way, and I should imagine that no two performances are ever identical. That live, semi-improvised atmosphere does give this show an extra kick. However, that said, it does slightly lose its way as it progresses. Cathal’s breakdown takes place quite slowly, even though you can tell it’s coming a mile off. The play could do with being ten minutes shorter and a bit snappier. But it’s still a lot of fun nonetheless.
Frank Sanazi’s Comedy Blitzkrieg, Frankenstein Pub.
It’s been a few years since we last saw Frank Sanazi and he’s still the same old lovable extreme fascist cabaret artist he ever was. His Rat Pack musical parodies are just hilarious, and he has you in the palm of his hand from the start as he sings Third Reich to the tune of That’s Life. He’s accompanied in this bizarre bunker blow-out by his friend Dean Stalin, and Sir Spliff Richard, who sings, inter alia, his eurovision hits Congratulations (Allegations) and Power to all my Friends (Showers with all my friends) – if Cliff Richard’s management know about this I do not know how they are getting away with it! On a serious note, in these near-fascist times where our governments are getting more and more right wing I think it’s important to ridicule characters like Hitler and laugh at them so that we don’t take them seriously. The danger lies where a character like Frank Sanazi is actually quite an engagingly entertaining and funny guy and we do genuinely find him quite lovable – and that’s a problem. There’s nothing lovable about Hitler, but there are masses of opportunities to ridicule and belittle him. Nevertheless, it’s a very funny act and it’s carried off with true Germanic aplomb!