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Latest items? Unedited? Fringe Report Uncut
The Ash Boy
Verdict: Courage, dysfunction, darkness
London - Theatre 503 - 22-25 March 06
Second run - 18-30 April 06
The Ash Boy is an interesting consideration of courage in the face of dysfunction. Jack, an especially needed as much as needy lad, attempts to take care of his spirit-sagging mother. Having lost their man about the house, the two are left to fend for, and tend to, each other.
Jack's mother Eve is obsessed with the past, which propels Jack towards an obsession with the future. In his case - which differs for each individual with Asperger Syndrome - this develops into a paranoia regarding technological infringement. He is afraid 'they' are watching his every move.
Unfortunately, Jack meets Benny, a Scotsman with a Special Brew of his own, and enlists his help to keep the wolves at bay. In the dog-eat-dog world exemplified here, the weak set about abusing the weaker and the predator dons his napkin ready for dinner. But who'll get burnt?
Writer Chris Lee presents a not-so-united view of the United Kingdom, with each character hailing from one of the three divisions. The social divide between the three characters expands beyond their meagre milieu and the Ash Boy’s psychological deficiency does little to bridge the gap. The newly arrived Benny finds no difficulty in manipulating the situation to his own advantage. Their world of misconstrued communication and lost ideals leads to misfired anger - and woe betide anyone who gets in the way.
The play follows a relatively conventional narrative line with a disregard for flagging-up time lapses or context. Subtle poetry weaves through the dialogue, which provides a melodic philosophical commentary on the circumstance of loss, neglect and necessity.
Gabrielle Hamilton (Eve) gives a fine portrayal of a frail woman who has as little hope as she does energy for the life she now leads.
Stuart Muirs plays low-life Benny with less menace than one might expect, which throws the stereotypical villain out of this particular picture. Instead, we see a man who is willing to shatter someone else's life on the mere want of a free shag and a shandy - which actually makes it worse.
Philip Brodie's performance as the Ash Boy himself (Jack) is captivating. He strikes the balance between the characters’ disabilities and abilities with precision. The character falls nothing short of a mangled genius and Brodie parades that in all its glory.
Direction by Gene David Kirk, though proficient for theatrical purposes, has a filmic flavour. There is a distinct lack of histrionic lighting or sound, which could easily lend itself to screen. These back-to-basics choices further reinforce the bleakness of the world in which the characters play. Toy soldiers lining the back wall of the stage are a constant reminder of the battle, and the fragile nature of the soldiers fighting.
The Ash Boy ends with a twist that flickers light before sealing off the tunnel. Trapped in such a dark place, the need to be careful who to trust becomes clear. And, overwhelmingly, to look for help from a professional - not someone met on a park bench.
Cast Credits (18-30 April 06): (alpha order): Philip Brodie - Jack. Gabrielle Hamilton - Eve. Stuart Muirs - Benny
Company Credits: (18-30 April 06): Writer - Chris Lee. Director - Gene David Kirk. Assistant Director - Jessica Beck. Designer - Alice Walkling. Technical Director - Phil Hewitt. Producer - Theatre 503 (in association with Birkbeck University of London). Premiere - 22 March 06, Theatre 503, London.
END
(c) Tracy Keeling 2006
reviewed March 06 / Theatre 503
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
