The stage is black; there is a stool with a large book laid flat upon it. A wooden chair with a jacket draped over the back is further forward; there's a solitary pink parasol with spots, closed and propped-up in the centre of the back wall. Katy Vans is a little girl, the focus of the play, dressed in a turquoise T-shirt, baggy blue jeans and blue baseball trainers. She has a playful charm, playing a tom-boy to contrast with her perfect and pretty sister represented by the pink parasol.

She tells how her parents treated her, as against how they treated her sister; how they thought it justified to lock her in a cupboard for punishment. She starts out at about 4 years of age, and talks about her new invisible friend; someone she needs to create: no-one else cares for her or takes any notice. The friend makes her do naughty things.

She moves on through ages 8 to 13 to 17, and early adulthood, describing things which happen to her, or as a consequence of her actions - but perceives them to be the actions of her invisible friend. The girl becomes aggressive as she becomes more angry at the injustices, and develops a mental illness which progressively affects every aspect of her life. Recalling a game she played with her dad as a child - she innocently hit him with a tomahawk at night while he was asleep - she relates another story. This time it's with a hammer, and a more sinister intention.

Leaving home at 17, she tries to do the things many may take for granted - such as finding a first home. She goes through the mental health system. Her invisible friend remains - dull or bright, ever an ominous presence, ready to distort her world and bring chaos. The girl welcomes her friend, relies on her, misses her when she's suppressed by drugs, wishes her back into her life - and to share it with her.

Leah Townley's direction is acute in skill and detail. Subtle mannerisms of a child are there, so that it feels as if the child is really present. Katy Vans makes good use of the stage and minimal props in her characterisation. Simplicity is the key - the few items are utilised so effectively that they take on their own personalities; the pink parasol, for example, is believable as the sister. Even without the props, the story would come to life, because Katy Vans is so animated and emotional - and all at the right times.

The book on the stool comes out when Katy Vans takes on the role of one of the many psychologists - Break Down The Angry Wall Of Hatred (Or How To Heal Your Inner Unloved Child) is a poignant title in the story's context. Ben Blaber's inspired lighting design brings a new level to the play's keynotes. His use of red light to emphasise the adult presence of the psychologist lends a clinical and harsh atmosphere. Blue light for night-time, coming from either side of the stage, shines on the little girl, worrying about the consequences of her actions. The rest of the time, the lights are up but soft - as if the girl is here but dimmed, hidden in some ways and not completely herself or comfortable to be exposed. A spotlight comes up from the side of the stage to signify the past, and the difference between then and now. It's consummate work.

As the invisible friend becomes more real for the girl, she becomes more real in the play. And later she's a menacing voice: 'An eye for eye, tooth for tooth'. Katy Vans is masterful with Claire Dowie's script as the the girl struggling through life, keeping the child-like voice throughout to show how the girl remains in her mind - a child trying to be good, and to be loved. She constantly finds the right balance to bring out subtleties of characterisation, sometimes using mannerisms and posture alone. There is a moment when she simply sits upright on the chair, with her hands on both knees, and wrings the material around with her fingers. It precisely evokes the torment the girl is facing. Katy Vans commands the stage, and holds attention throughout. Who couldn't connect with this child, or wish for her future to be safe?

Cast Credits: Katy Vans.

Company Credits: Writer – Claire Dowie. Director – Leah Townley. Music – Peter Michaels. Lighting Design and Operation – Ben Blaber. Graphic Design – Shira Geva. Co–Producers – Leah Townley and Katy Vans. Company - Blurred Vision & Boy Who Cried.

END

(c) Chantal Pierre-Packer 2009

reviewed Monday 17 August 2009 / Etcetera Theatre, London UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com