in the Studio

One of the Nomads’ strengths is their ability to move into less ‘safe’ or less conventional areas of drama. The recent Studio production of Ella Hickson’s Boys evidenced a sure grip on a piece that might not appeal to all, but ticked the boxes for pace, verve and atmosphere. The latter was set by Amy Stringer and cohorts’ vision of a grotty student digs in Scotland - dishes piled up, debris and rubbish bags strewn around..in all a present-day Hogarthian setting for the antics of the cast. These trod a sometimes uneasy mix of connected and disconnected. There are passages where two characters are speaking and ostensibly responding to each other but in reality they are entirely self-centred in grand Ayckbournesque style.

This IS a piece where each of the six characters has their own agenda, some unattractively so. OK, it’s not as mind-numbingly crammed with selfish personnel as , say, The Cherry Orchard which for this viewer made a good case for complete and immediate urban renewal of the area. The interaction in Boys where it happens is sometimes tender, almost dreamlike as it plays out but at others grotesquely tetchy, underlined by the one-room setting bordering on squalor.

The play’s strength is the distinct points of character displayed by each member of the ensemble and here credit must be given to the casting and the direction, step forward Nathan Farrell. The action never flags, its calm stretches which play up the eccentric behaviour of the characters fascinate and in contrast the bad-tempered exchanges enthral. The town outside is undergoing some civil unrest. We hear it, we sense it. A ‘normal’ life for this motley crew is only attainable by ignoring the events but can they ?
The action ratchets up to an itchy finale and one is left wondering what may have happened to each of the characters…

Josh Jones ‘Timp’ is a gleeful hedonist, unconcerened about any kind of future, if indeed he has one. Fuelled by drink and drugs, his only concern is the next party. A part artfully played, nay savoured by a vibrant actor.

Jordan Farrell as Cam the somewhat half-hearted classical violinist gearing up in his own way for a major show convinced as a relative innocent not entirely at ease with the prospect of a conventional existence. He even LOOKS like a young violinist.

Rachael Ball was a nimble and nebulous Sophie, wanting a journey of romance..however this clearly isn’t really her stop. Her solo speeches floated out of the piece, with fine impact. Waitress Laura is played by Hannah Bailey and yearns for a steady life of love, fate decreeing that this will be a while arriving. She looks, speaks and moves the role.

Stuart Tomkins‘ matter-of-fact tread though the urbane character of Mack was a foil for the other male characters, at times a bully, a hardnut, a mocker. No sentimentality here and a very credible performance.

The toughest part - given that it requires a doleful auto-pilot plodding through life shot through with bursts of incandescant rage and bile at what has and may be about to happen - falls here to Richie Halsey-Watson as Benny. Pure in the sense of having ideals, Benny alone has connection with the real world and it tears him apart. We watch with horror as he suffers, a vital part of the piece.
I suppose we can each decide what the message of the play is meant to be - as a portrayal of a group thrown together by circumstance and their curious lifestyle this resonant work hit home and hit hard. Bravery rewarded.

This entry was posted on Saturday, February 1st, 2014 at 7:29 pm and is filed under Reviews, Theatre. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.