Review: THE ACT, Yard Theatre

Following on from their stunning creation Brainstorm (a play I absolutely loved and wouldn't stop talking about), Company Three return to the Yard in this production performed by a cast of teenagers.

Now, one might hear "a cast of teenagers" and naively think the quality may suffer. That assumption would be totally wrong, as this company brings a fresh and realistic approach to the topic on hand. Who better to tell a story of teen angst, than those that are currently going through it?

The Act discusses love, lust, youth development and so much more. It takes a look at how we grow up, whom we learn from and all the new things we feel as we make the journey into adulthood. It's deliberately provocative; it's awkward, humorous and at times unsettling.

The script definitely shocks, but it's never used in a misplaced manner. After all, it's the language being spoken by young people in today's society and therefore shouldn't ever be censored. Their voice is important and this piece celebrates their individuality.

Charlie Damigos' design is a kaleidoscope of different colours and patterns. So many rails decorate the stage, featuring items of clothing that the company dress each other up in. In doing so they create caricatures to aid in their mini vignettes. It's silly, playful and a lot of fun.

The ending is really special. We watch as the cast undergo a 15-minute improvised exploration. Feeling somewhat like a viewpointing exercise, they run, fall, follow and discover new things. the company's ability to trust in the unfamiliar is an exciting thing to watch, and when they really go with their impulses, there is a deep sense of euphoria evoked from the stage.

Sure, the production is amateurish to a degree - but this only adds to its charm. Why does everything have to be so polished? Life isn't. It's rocky, turbulent and predominantly unpredictable. The Act follows this trend and the 70-minute production is an absolute delight to watch.

The Act at the Yard Theatre until 14 April

Photo credit: Camilla Greenwell

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