Review: Failure Studies (Precarious Theatre, GM Fringe)

Sunday 12th September 2021
King’s Arms Theatre, Salford

The Greater Manchester Fringe continues throughout September, and I’m continuing to review a selection from the programme on this blog and on North Manchester FM. On Sunday 12th September, I was at the King’s Arms Theatre in Salford to see my next show from the festival programme: Failure Studies by Precarious Theatre. The radio version of this review will be broadcast on the Hannah’s Bookshelf GM Fringe Reviews Special on Tuesday 14th September, but here’s the blog version…

Failure Studies is a one-act play written by Marco Biasioli and produced by Precarious Theatre, a new company recently formed by Biasioli and Liam Grogan. This is actually the third play by Biasioli than I’ve seen (and reviewed). His debut script, Hanging, was produced by Tangled Theatre for the 2018 Greater Manchester Fringe, and his second play, Underwater, was performed by Gare du Nord at the 2019 festival. As with my previous review (Libby Hall’s Your Playground Voice is Gone), I can’t help but reflect on the similarities and differences between this year’s piece and previous examples of the playwright’s work.

However, I don’t intend to labour the comparisons too much here (though I might not be able to resist pointing out a couple), as it’s really not necessary to be familiar with Hanging and Underwater to understand Failure Studies and, while there are stylistic, structural and thematic echoes with the earlier two plays (and some cast crossover, as David Allen and Luke Richards appeared in Underwater as well as Failure Studies), Precarious Theatre’s production is really quite a different play to the previous works, and in many ways something of a development.

The audience enters the King’s Arms Theatre – charmingly and comfortably laid out cabaret, rather than theatre, style – to find the three performers already on stage. David Allen and Francesca Maria Izzo are sitting behind a desk, apparently asleep with their heads down, and Luke Richards is lying underneath the desk, also apparently sleeping. Around them, the stage space is littered with hundreds of pieces of papers.

The play begins with an alarm clock sounding and a recorded voice instructing Georgie (Richards) to wake up and prepare himself for the day. What follows is an extended sequence in which Richards shows off his physical comedy skills, miming an exhausting morning routine that takes in ablutions, meditation, yoga, a workout, breakfast preparations and coffee-making. It ends – bizarrely – with Georgie being told to ‘put on his costume’. We don’t see the costume (Richards continues to mime the actions), but from this point Georgie has become a chicken.

For all its cheeky side swipes at ‘wellness’ rituals – Georgie’s morning routine includes some light-hearted mockery of the hipsterism of almond milk oatmeal, performative yoga and trendy trainers that are too young for the wearer to pull off that is reminiscent of Richards’s performance as a vegan killer whale in 2019’s Underwater – this initial sequence is actually leading us into something much more absurd. And I use that word very specifically.

While Biasioli’s previous plays were undoubtedly odd, off-beat and occasionally opaque, the influence of the Theatre of the Absurd is much more clearly discernible in Failure Studies. In its dystopian strangeness (complete with the partial metamorphosis of a human into an animal), there are echoes of Ionesco in places. However, the dialogue between the three characters (and the undercurrent of menace and physical threat) feels much more reminiscent of Pinter. There is something more assured in the way Failure Studies develops its absurdity, meaning that this feels like a much more confident production that presents itself with conviction and vigour.

As with Biasioli’s previous two plays, Failure Studies is a single-act divided into a series of sequences performed on the same set and in the same costumes. After Georgie’s morning sequence, the lights drop, and when they come back up the stage is now an office. Marc (played by Allen) and Babe (Izzo) are sitting behind their shared desk at the editorial office of Failure Studies, a pseudo-academic journal that publishes articles on failure. Georgie – now a chicken – is their intern, and Marc periodically throws crumbs at him from a box on the desk. As Babe points out early on, the crumbs are poisoned, though the effect they have on Georgie varies wildly throughout the play.

What follows from this is an exploration of failure, futility and the unsettling pointlessness of human endeavour. In the Theatre of the Absurd tradition, the play’s message is nebulous and constantly shifting. At times, there is what appears to be a direct critique of capitalism – Georgie is the exploited intern being humiliated for sport by the sadistic and megalomaniacal Marc – but elsewhere the focus shifts to a cutting critique of individualism – Marc’s dissection of Georgie’s belief that he is ‘special’ and ‘talented’ is presented through a sort of parade of Barnum statements (‘You’re an artist,’ ‘You’re different’, ‘You’re only doing this job to help your creativity’) that reaches a bitter and hard-hitting crescendo.

Behind this, however, is another story. Occasional glances between Georgie and Babe suggest that their relationship might not be as it appears, and a repeated return to the ‘Ancient Greeks’ and a fear of the outside world is noticeable. A sense of dystopia is created through these hints, and also through the inexplicable claustrophobia of the set and characterization, and this comes to the fore in the play’s final sequences. What this dystopian context actually is, though, is uncertain, as the play resists comforting exposition and resolution.

The three actors offer strong performances throughout. Richards brings an exuberance and charm to his portrayal of the baffling and unknowable Georgie, switching in an instant from mute physicality to verbosity and then back again. Izzo is unsettling in a different way as Babe; while she appears to be a ‘voice of reason’ or a sort of futile moral compass, offering a corrective to Marc’s excesses, this is undermined just enough by Izzo’s blank detachment to make us question how much we trust in her compass. And Allen starts small but builds to a frenetic and frankly unnerving pitch by the end of the play that is really something to behold.

While much of the absurdity of Failure Studies is developed through set-piece dialogues and the occasional monologue, there is a lot of physical performance here too. I’ve mentioned Richards’s physical comedy performance at the beginning of the play, but credit also has to be given to the acting and direction for some intensely physical sequences towards the end of the play. While Pinter may have used elliptical dialogue and scene breaks to imply menace and violence, Biasioli’s play shows this in a break-neck, in-your-face way. One of the final sequences left me tired just watching it, and I had a genuine concern for Allen’s safety at one point! (It’s always disturbing when an actor says ‘Did we kill him?’, and you’re not completely sure whether they’re still in character! Fortunately, Allen took his bow with the others at the play’s close, so I think he was okay!)

Failure Studies was an enjoyably baffling play to watch. As a fan of Theatre of the Absurd, I appreciated both the opaque dialogue and the continued (but frustrated) suggestions that something more profound was lurking just out of reach, under the surface. It was also good to see this development of Biasioli’s writing. While I did enjoy Hanging and Underwater at previous festivals, Failure Studies is undoubtedly a more assured and confident piece, and one which carries its absurdity with conviction, menace and humour.

Failure Studies is on at the King’s Arms Theatre on Sunday 12th-Tuesday 14th September, as part of the Greater Manchester Fringe. To see the full programme for this year’s Fringe, visit the festival website.

Review: Your Playground Voice is Gone (Libby Hall, GM Fringe)

Saturday 11th September 2021
Salford Arts Theatre

This year’s Greater Manchester Fringe runs from 1st-30th September, and I’m reviewing a selection of the shows on this year’s programme for this blog and for North Manchester FM. My second show of this year’s festival was on Saturday 11th September, when I was at the Salford Arts Theatre to see Libby Hall’s play Your Playground Voice is Gone. The radio version of this review will be going out on the Hannah’s Bookshelf GM Fringe Reviews Special on North Manchester FM on Tuesday 14th September. But here’s the blog version…

Your Playground Voice is Gone is a one-act play, written by Libby Hall and directed by Roni Ellis, and performed by the Salford Arts Theatre Young Performers Company. At the last Greater Manchester Fringe Festival, I reviewed Hall’s play The Melting of a Single Snowflake, which was also performed by the Young Performers Company, so I was interested to see what this new piece would be like.

In some ways, Your Playground Voice is Gone bears some similarities to The Melting of a Single Snowflake. It’s an ensemble piece with a single set, which uses the dialogue and conversations between an eclectic group of young people to develop its plot. Like Hall’s earlier play, Your Playground Voice is Gone explores themes of youth, identity and change. However, for all the superficial similarities, Your Playground Voice is Gone offers a quite different story – with a different sort of conclusion – to The Melting of a Single Snowflake, and it is thought-provoking in the way it does this.

The play opens on its single set – a fly-tip in some woodlands that is clearly acting as a makeshift den. John (played by Matthew Cox) and Rachel (Molly Edwards) rush onto stage as though fleeing something, and then proceed to wipe something red from their hands and t-shirts. They’re soon joined by Holly (Leia Komorowska) who is wearing school uniform, carrying what appears to be homework, and studiously ignoring the still-panicky behaviour of her peers.

Although they are clearly around the same age, the contrast between the characters is strikingly apparent even before the dialogue begins. While Komorowska’s Holly holds herself with the confident poise of a serious young woman, John’s youthful fragility is almost tangible. Sitting at the front of the stage in a near-constant state of bewilderment, Cox’s performance conveys both naïvety and fear of the adult world. In between these two is Edwards’s Rachel, who veers dramatically between maturity – there’s a touching maternal quality to the ways she helps John to wipe his hands – and vulnerability – she often flinches away, holding herself more like a frightened child than a confident adolescent.

These contrasts are heightened by the arrival of the rest of the cast. We meet Darcy (played by Scarlett Doyle), a rambunctious and flippant would-be rounders star in a bandana and camouflage jacket, Kelsey (played by Sienna Kavanagh), a more ‘girly’ girl who is wearing a rather misjudged face of makeup, Loz (played by Josie Leigh), who seems determined to criticize and question everything her friends do, and Alfie (Riley McCaffery), who confidently explains why his playground voice has gone early on with a rather blunt anatomical boast (which his friends don’t believe).

Although there is some movement around the stage, Your Playground Voice is Gone is carried almost entirely through the dialogue between the seven characters. There’s a healthy dose of light-hearted bickering and mockery, but also some serious conversation about (amongst other things) the physical abuse John is enduring at the hands of his mother, and the various ambitions each of the group have for when they’re ‘grown up’. As in her earlier play, Hall reveals a good ear for dialogue and a talent for writing humour. A highlight for me was Alfie’s confident assertion that his father is a self-employed gardener, because he grows plants in his house and then sells them on to his customers.

While the conversation ranges around from Kelsey’s conviction that she won’t grow old because she uses Nivea, to Holly’s insistence that she takes her schoolwork much more seriously than any of her peers, to Darcy’s casual announcement that she’s been diagnosed with ADHD (a fact that elicits sympathy from John, despite him not knowing what the condition is or how it might affect her), there is a thread that runs through, which will ultimately lead us to some unsettling revelations.

Throughout their chatter, the young characters keep returning to a sense of confusion between the child and adult worlds. This isn’t so much a play about the transitional nature of adolescence – as The Melting of a Single Snowflake was – but rather one that explores the sharp disjunctions that one experiences during that time of life. Rather than navigating a change from youth to maturity, the characters here are working through confusion and contradictions.

And these confusions and contradictions come thick and fast. For instance, while Alfie sees his father’s exploits through a lens of childlike naivety, he is able to look at the relationship between Holly and her teacher with more adult eyes. Darcy, who is the most playful and childlike in her actions throughout, seems to be the most knowing and worldly wide (though she mostly uses this knowledge to tease her more naïve peers).

While the performances are engaging and funny, and the jokes all land well, the real strength of Your Playground Voice is Gone lies in the storytelling. The conversations between the young people aren’t simply a meditation on the fractured and contradictory nature of adolescence, but rather a slow (and sometimes imperceptible) revelation of the underlying plot – which has, in fact, happened off-stage before the play began.

Hall’s storytelling here is even more ambitious than in The Melting of a Single Snowflake, as the story being told is not the one we might have expected. Throwaway comments and jokes early on – including some seemingly glib lines from Alfie – eventually turn out to be the heart of the piece. This is not a story about growing up in the general sense, but rather a tale with a much darker heart. This is carried through a mostly static seven-way conversation, but it still packs a punch when it is revealed.

The play’s ending is one that will stick with you, and it actively encourages the audience to ponder on its implications after the curtain has come down. For younger viewers, there are some clear and unequivocal messages about safety and boundaries, but for older audience members (like myself) the message is more troubling. As with Hall’s earlier play, the lack of a strong and supportive adult presence in these young people’s lives is felt keenly – from John’s abusive mother to Alfie’s ‘gardener’ father, the adults on the periphery of this story are unreliable at best, harmful at worst. The question is thus raised: can we really judge young people for finding their own solutions to problems if they have no adults to turn to for help?

In addition to this, the play’s ending is somewhat open. Everything is revealed through the words of a group of young people who veer wildly between childhood and maturity, and so we can never be completely assured of how they are comprehending things. Even when some apparently clear and unequivocal exposition is given, it is undercut by Rachel’s unsophisticated insistence that £72.11 is probably enough money for seven people to live on indefinitely. The open ending ensures that the audience is left wondering what will happen after the curtain comes down, but it also leaves some uncomfortable questions about what happened before it came up.

Overall, this is a compelling piece of theatre. The Young Performers Company offer some assured performances, handling both the humour and the darkness with confidence. Hall’s writing is sophisticated and controlled, with the story developing at a pace that makes clever use of the constraints of form and setting. Although the play is a single 50-minute act, it feels like there is much more here, and that the story is much deeper and longer.

After reviewing both The Melting of a Single Snowflake and Your Playground Voice is Gone, I am impressed with the Salford Arts Theatre Young Performers Company, and I’m also convinced we’re going to be seeing much more from writer Libby Hall in the future.

Your Playground Voice is Gone was on at the Salford Arts Theatre, on 11th-12th September, as part of the Greater Manchester Fringe. To see the full programme for this year’s GM Fringe, visit the festival website.

3 Minute Scares is back for its sixth sinister year!

North Manchester FM's Halloween creative writing competition is open for submissions for 2021.

North Manchester FM's Hannah Kate wants your scary stories for Halloween! She’s asking people throughout Greater Manchester to submit their 3-minute stories for her annual creative writing competition. Writers keen to be crowned Greater Manchester’s Spookiest Wordsmith can submit a recording of their mini-tale via Hannah’s website, with the best entries being broadcast on the Halloween edition of Hannah’s Bookshelf on Saturday 30th October.

We’re delighted to announce that this year’s 3 Minute Scares competition will be judged by horror legend Ramsey Campbell, with the writer of the best entry receiving a prize from Breakout Manchester, the live escape room game. Entries need to be 3 minutes long, meaning a word count of around 350-400 words. The judges will be looking for style and originality, as well as how scary the story is. The deadline for entries is Monday 11th October, at midnight.

Last year’s competition was won by Rose Cullen, who impressed the judges with her stylish and darkly humorous tale. Hannah Kate says: ‘Last year saw a bumper crop of entries for the competition, with a really strong shortlist. Rose's story impressed the judges by how well it handled the short form, but also with the delicious payoff it gave us at the end. The competition crown passed to a worthy winner, but I'm intrigued to see what this year’s entries will bring.’

All writers need to enter the competition is a computer with a microphone… and a good story. Entries can be recorded via Hannah’s website. More information and rules of the competition, including information for people unable to submit a recording, can also be found on the website.