Review: PAINES PLOUGH ROUNDABOUT, Orange Tree Theatre

After a hugely successful 2017 Edinburgh Fringe run and UK tour, Paines Plough Roundabout arrive at the Orange Tree Theatre. Featuring a tense psychological thriller, a fiery tale of friendship, and a story of growing up too fast, this three-show programme has it all. Paines Plough hardly ever tour their work to London, so this is a really exciting opportunity to see three new pieces of writing, by three celebrated playwrights.

Co-Artistic director James Grieve directs Hasan Dixon, Katie Elin-Salt and Sally Messham in all three productions. The triple billing means the three perform as a multitude of complex characters, giving them amble opportunity to demonstrate their exemplary skill. And demonstrate it they do.

The first performance of the day is How To Be A Kid; a larger than life story of family, friends and fitting in. Molly is only twelve, but she's endured more than most her age and has consequently discovered an extraordinary sense of adulthood, meaning that her concept of being a kid is skewed. Looking after her younger brother as her mother battles depression, Molly is the superhero of this fantastic children's story, suitable for ages 7+.

Winner of the Best Play for Young Audiences at the Writers Guild Awards 2018, Sarah McDonald-Hughes' script is a delicate insight into mental health, and effectively discusses the illness in a way that it is engaging for both children and adults. Elin-Salt is in role as the adult/child Molly, and uses the form of storytelling to guide us through her wild adventures in a bid to save her family.

It's a story of hope, and the plays real merit lies in the fact that it doesn't shy away from getting to the core of mental illness. The writing holds nothing back and by removing any fantasy elements to make it domestic, the piece didactically informs everyone of the wider perspective of this complicated area.

Black Mountain had me on the edge of my seat. Brad Birch's play is a tale of betrayal, forgiveness and paranoia, and whilst it may be slow to start off with, upon reflection I think that's the point. It leads you into a sort of mundanity, before assaulting you with an epic conclusion that will leave you gagging.

Rebecca and Paul are running away; from what, no one is exactly sure. Things have happened in their past that they can't seem to escape, and in the attempt to save their relationship they end up destroying it and themselves even further. They can't run forever, and eventually the road will end and force them to confront every demon.

Sitting through these 70 minutes is intense to say the least, and your mind undergoes a rollercoaster ride of emotions that leaves you feeling woozy after it. How great that a play can do that to you. Birch makes you think all is ok and then immediately throws something new into the mix, making the entire experience a highly unpredictable one.

The final piece programmed is Elinor Cook's Out of Love. A finalist for the Susan Smith Blackburn Prize 2018, Cook's play is a story of friendship, love and rivalry, spanning 30 years. Lorna and Grace do everything together. They share crisps, cigarettes and crushes, but that's just what happens when you're best friends.

However, you can't depend on just one person forever. When Lorna goes off to university and Grace gets pregnant, the girls quickly realise that they may not need each other as much as they thought. Suddenly they exist in two completely different worlds and that feels ok, but why does it?

Cook tenderly navigates themes of co-dependency, jealousy and regret to write a piece that could resonate with a lot of people. We've all had those relationships that we think will last for a lifetime; but one day they cease to exist, and then you have to learn a new of living. This can be exciting, yet incredibly nerve wracking, and this concept is explored in great depth throughout the play.

Grieve's direction brilliantly draws out the best performances from all. It's tremendous to see such a performative range; from children to old people, northerners to Welsh, comedy to drama, the eclectic programme has everything you could possibly want.

Dixon, Elin-Salt and Messham work together so incredibly well, and this excitement on stage transcends onto the audience. There are lovely moments of choreography, and despite the fact the company have been performing these plays for quite some time, it still feels incredibly fresh.

What's really impressive is the technical capabilities that the Orange Tree has. The combination of varying lighting effects and sound cues help create an atmosphere that fully envelops the audience. There is a deliberate overwhelming concoction of flashes, bangs, rumbles and colours, and it's really something special.

I wish this type of event could happen way more often. To be able to inhabit a space for the entire day and watch three completely different creations was nothing short of brilliant. Throughout the course of the nine+ hours spent there I laughed and cried; I was scared, angry and deeply moved. A company that champions rising talent, Paines Plough's Roundabout Plays offer something for everyone.

Same time next year?

How To Be A Kid, Black Mountain and Out of Love run at Orange Tree Theatre until 3 March, in rep. All three shows are available to see on the same day on Thursdays and Saturdays.

Photo credit: Jonathan Keenan

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