JustOut Theatre
In this post, I’m going to be reviewing two more radio plays by JustOut Theatre Company: Mother’s Day and Monday at the Flat Iron. The radio version of these reviews was broadcast on yesterday’s edition of Hannah’s Bookshelf on North Manchester FM. But here’s the blog version…
In a previous post, I gave a bit of introduction to JustOut Stays In, a series of radio plays that have been written, directed and produced by northern creatives. The plays are currently available to listen to, for free, on YouTube and Soundcloud. Links are also available on the JustOut Theatre website.
I’ve been reviewing the plays in pairs, so in this post I’m going to be talking about two more of the pieces: Mother’s Day by Tom Ryder and Monday at the Flat Iron by Kate Ireland.
Let’s start with Mother’s Day…
Mother’s Day is a relatively short (it’s around 10 minutes long) monologue, written by Ryder, directed by Michelle Parker and performed by Janice Fryett.
The monologue begins with the narrator signing a lullaby – which, when combined with the title leaves us in no doubt that the character here is a mother, and that she is likely going to be addressing her child. That is indeed the case. Fryett places an unnamed mother, speaking to her son and explaining her feelings about the fact that he persistently forgets Mother’s Day. She doesn’t mind though, as she loves her son.
Of course, the story isn’t really as simple as that. Mother’s Day, like a number of the other JustOut Stays In plays that I’ve reviewed, manages to fit quite a huge – and rather ambiguous – story into its short running time. The relationship between the mother and her son is absolutely the focus here, but it may not quite be the relationship we were expecting.
It’s hard to put your finger on where and how Mother’s Day becomes unsettling, but it definitely does. One striking aspect of Ryder’s story is that it is told in second-person (so a sustained address to the son), but also that it uses future tense (the mother is telling her son the story of what will happen, rather than what has happened). Given that we begin with that lullaby, the listener is left with the unnerving sense that this is a story the mother is telling her baby – the story of what his life, and their relationship, will become. It’s an unusual storytelling technique, but one that is suited to the short form.
Added to this – and, again, a judicious use of the running time – we never actually hear the full story. The mother describes particular moments in their lives – particular Mother’s Days that were forgotten – jumping forward by years each time to take us through to the son’s adulthood. And, again, there’s an unnerving quality to this. Not only does this add to the sense that the story – the future life of the baby being soothed by the lullaby – is already written, inevitable, it leaves a series of large gaps in the narrative for the listener to fill with their own imagined explanations.
Just what is going with this mother-son relationship is left distinctly unexplained. The moments that are described are weird, and the behaviours presented are definitely not right. But is this an overbearing mother smothering her child? Or a protective parent trying to navigate her child’s problems in the best way she can? Some of the mother’s actions seem strange, and her motivations unclear, but the fact that we only ever see the relationship from her perspective means that, no matter how opaque her thinking is, her son’s motivations are even more elusive.
Ryder’s script is tantalizing and suggestive, and it is performed well by Fryett, who lends the character sympathy – and even humour – even at the more disturbing points of the story. This is an unusual tale that will linger with you after it has finished.
Now, in previous reviews, I’ve mentioned that I’ve been choosing the pairs of plays each week pretty much at random, but that I’ve kept being surprised by the connections I find between the chosen pairs. I have to say that I think this review might break that pattern, as Monday at the Flat Iron is a completely different kettle of fish to Mother’s Day!
Written by Kate Ireland and directed by Andy Yeomans, Monday at the Flat Iron is a two-hander. It is performed by Rebecca Pythian (who plays Zahra) and Callum Scouller (who plays Joe), and it’s about the relationship between two very different characters.
Monday at the Flat Iron begins with Zahra (who’s from Salford) reading out her profile for a dating app. It’s a brash, abrasive, loud-mouthed profile, which Pythian performs with gobby northern gusto. Scouller’s Joe then steps in to criticize Zahra’s attempts, suggesting it isn’t honest enough, and then to read out his own, which consists of simple statements of fact: he is Scottish and a construction worker.
And so this is a classic ‘odd couple’ set-up. Given how wildly different Zahra and Joe are, how have they come to be such good friends that they seek one another’s advice on their dating profiles?
The one thing that Monday at the Flat Iron has in common with Mother’s Day is its relatively short run-time (it’s also around 10 minutes long), and so there isn’t space for Ireland’s script to give us the full history of Zahra and Joe’s relationship. Instead, the characters – moving into parallel monologues – describe the moment when they met, which happened in a pub called The Flat Iron.
It’s a beguiling little story – I was going to say ‘charming’, but much of Zahra’s narration is a little too earthy to really be called charming – about a loud messed-up lass from Salford accidentally crossing the path of a more introverted young man from Glasgow, as the latter tried to enjoy a few pints with his workmates and the former was stumbling round in the dying throes of a full-on weekender. A lot is not said here, and Ireland’s story focuses us on the specifics of what happened that ‘Monday at the Flat Iron’, rather than on explanation or interpretation. The characters describe one another – and themselves – and who said and did what, as the story builds to the moment at which their friendship began. Pythian and Scouller give warm and believable performances, which adds to the charm of it all.
I did really enjoy this one, though I found myself thinking that I would’ve liked to see a little more of Joe. Perhaps this is a deliberate character choice, though. While Pythian’s Zahra exclaims various ideas, experiences and philosophies through which we get a sense of her character, Scouller’s Joe is much more reserved, focusing more on describing the appearance and behaviour of the wasted woman who accosts him in the pub one afternoon. This gives us a good sense of the contrast between the two, but it does mean that the audience may feel a stronger and more rounded sense of Zahra’s character than of Joe’s.
Nevertheless, Monday at the Flat Iron is a really enjoyable piece of drama, with two great performances. I suppose you could call it a ‘slice of life’ story, as there is something very normal and down-to-earth in the characterization (as well as in the mundanity of how the two characters meet). But, especially in the final lines of the play, there’s a pleasing hint of something more profound.
Once again, I find myself really recommending these plays from JustOut Stays In. Two enjoyable and engaging pieces of audio drama that pack a hell of a lot of story into a tight run-time. With great writing, direction and performances, Mother’s Day and Monday at the Flat Iron are definitely worth checking out.
Mother’s Day and Monday at the Flat Iron are part of the JustOut Stays In series of radio plays. They are available to listen to on the JustOut Theatre YouTube and Soundcloud pages. Please visit the JustOut Theatre website for more information.
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