A man. A woman. Trapped in a lift. What happens next? The audience will decide...
Claustrophobia - New Theatre Review!
To explain, when I was little, I used to read a series of books, where at the end of each chapter, you (as the reader, and protagonist) would choose what would happen next... Pick up the stick in front of you? Head to page 23... Talk to the dog with a stick in its mouth..? Head to page 40. And so on... I remembered feeling rather annoyed at myself for choosing the wrong path, and trying to work back on my steps to make the story end well..! At any rate, I was impressed by the thought of a cast who were willing to follow our lead; ready to deliver an ending that suited our whim... and I was also intrigued to see how they would make it happen, logistically-speaking.
Both leads were extremely natural. This is not a stylised piece, they are supposed to be relatable; and they both achieved this, perfectly. Rachel (played by Kate) is someone we've all met and known at some point in our lives; chatty, down-to-earth - and more than a little flirtatious. The other actor played by Henry Douthwaite goes by the name of 'Man', and is a reserved English gent who shows the odd glimmer of a mischievous side. There's comedy between the odd pair; as she deals with the situation by over talking, and he, conversely, clams up. I really enjoyed the well-observed idiosyncrasies that made their way into the story; her loud eating, his quietly exasperated responses. Given more time, I would have asked the writer, Jason Hewitt, how much of the script came through improvised sessions, and how much came from his imagination. There were certainly no jarring moments where we were aware of the 'dialogue', which can so often be the case in naturalistic pieces.
What I will say about the play, without seeing the script itself, is that Jason's previous life as an actor (that is not to say he has retired, just to say it pre-dates his career as a writer!) - is an obvious advantage to the writing process. Sometimes you can feel the ego of the playwright seeping through, you can hear them willing you to feel their wisdom and wit, writing lengthy monologues just to cement their authority as a gifted writer. This was not the case with Claustrophia - it almost felt, at times, like the writer was giving the actors as many opportunities to shine as possible! In fact, I did ask Jason if he has considered starring as the leading male himself, his words were "I wasn't right for the part..."; and if you know anything about actors, you'll know most of them do not have the humility to say that. So, without ego - and with a strong sense of what makes a great role, Jason Hewitt delivers a play that is likely going to be found in actor's monologue audition books in years to come.
So! Back to the play itself... Without giving too much away (because that would ruin it);
It's an obvious compliment to the pair that, when the second half started, they were still able to inject well-developed personas into an act that was not entirely off book. And even though they had their scripts with them - they were not heavily relied upon. As Director Sharon Burrell explained later, to have all the various endings memorised would have meant weeks of extra rehearsals; and there was a real feeling of wanting feedback before the production continues in it's development.
Sharon asked, softly, if I had ever experienced any form of claustrophobia,
I feel rather ill-equipped to make any comment about the direction of the play (having not been privy to the rehearsal process), but just taking a look at Sharon Burrell's credentials will tell you she has a knack for taking a concept and turning it into a riveting reality; therefore some of the credit must go to her! The great thing about opening the play up to comment and review, in the early stages, is that Sharon has a clearer idea of what the audience made of her efforts - what was understood, and what (if anything) went unnoticed. Again, a lack of ego like that in the creative process is a massive bonus. (in my opinion!)
I watched two possible second halves to the play, at end of the entire process we were asked to complete a feedback form, and I hoped what I was writing could prove to be of some use... It occurred to me, I've been that consumed by other projects since I left college (stand-up comedy being one of them) that theatre's had to take a back seat. And it's such a shame. Claustrophobia reminded me of how much raw talent there is out there; in terms of writing, directing, and acting - and how enjoyable a matinee can be, when the world's still rushing around at breakneck speed outside the door.
In conclusion; I really hope Claustrophobia gets the funding,
The sound track for this blog post..? Love In An Elevator! Is it appropriate? NO! But you know what I'm like for giving a Reader Soundtrack... FYI, Claustrophobia is NOT a kitsch love story, unlike Aerosmith's track... (look at his face when he meets the hot chick in the lift!!) that's why I've left it to the end... having said that, it could be that one of the possible outcomes IS that it's a love story. If you ever watch it, and find out that is the case... let me know!