Review: BROKEN BISCUITS, Crucible Studio, Sheffield, 15 November 2016
By: Ruth Deller Nov. 16, 2016
Sixteen-year-old Megan (Faye Christall) is on a mission. Having 'failed' to be cool or popular at school, she is determined that when she and best friends Holly (Grace Hogg-Robinson) and Ben (Andrew Reed) go to college after the summer holidays, they'll reinvent themselves. Her plan is that they'll form a band and then bask in the coolness that comes from doing so. After all, what could go wrong? Except for the fact that the only one of them that can play an instrument is Holly...who plays the flute.
So begins Tom Wells's Broken Biscuits, a new play produced by Paines Plough and Live Theatre and currently touring the UK. Set in the summer between school and college, we see the three friends grappling not only with trying to learn their instruments and write songs, but with what they want from life, who and how they want to be, and whether or not their friendship is really working.
The one-act play takes place in Megan's shed, with Lily Arnold's design offering a nicely compact and intimate setting, well realised with lots of small touches that lend it an air of authenticity (barbecue tongs hanging on hooks, shelves full of old tins, bottles and tat). The script bursts with really fresh lines and ideas, as well as drawing upon some more of the classic themes of teenage coming-of-age stories. There's a nice sense of humour here - with jokes ranging from subtle, but sharp, observations to broad slapstick and visual humour.
The three young actors comprising the cast perform exceptionally well - not only are they believable and sympathetic as their characters, they only ever leave the stage to effect quick costume changes. Faye Christall in particular has a demanding time of it, playing mouthy Megan, who rarely stops talking. The chemistry between the three works and the slightly uncomfortable dynamics of close-knit friendship groups where one person has dominated the agenda for too long are well realised in both performance and script.
The pre-show soundtrack (including The Smiths, The Jam, Pulp, Belle and Sebastian and more) will remind twenty- to fiftysomethings of their own teenage days, and there's also much in the characters and situations that feels universally teenage - first love, identity, family, bullying, friendship, future - coupled with contemporary references to WhatsApp, Facebook, unicorn onesies and Pokémon Go.
At one point, Ben tries to teach Megan Pulp's "Mis-Shapes" and she dismisses it as old-hat, 70s ("90s!" "Same thing!"). Those of us in the audience old enough to know will shake our heads as she dismisses it, aware that she would really benefit from hearing its lyrics about outcasts struggling to fit in, and its message about how being cool doesn't always pay off in the long run. Adults might often wish adolescents would take heed of what came before, but Megan, like all teens, has to learn life lessons in her own way.
The play itself is well-observed, funny and sweet, if a little predictable in terms of plot and perhaps a little too long. Occasionally I wondered if some of the references (Billy Elliot, for example) were too old for today's teenagers, but for the most part, there is much they will recognise.
The acid test, though, is what teens themselves make of it. The two teenagers who were part of our group were stereotypically unforthcoming when asked for their opinions, but they did say they liked it and it was 'funny' before they buried their heads back in their phones. And, if you want to revisit your own teen years, you're likely to find something to enjoy in this production.
Photo by Richard Kenworthy
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