A slight but slick one-woman show in its early stages of development, Vines showcases an engaging and assured performer, impressive sound design and fun use of UV.
Taking place within the friendly and non-pretentious confines of Balham’s Theatre N16, Vines is a short and sweet (35-minute) one-woman show about, what feels like, a specifically millennial problem.
As Simon Sinek argued recently, we’re a generation who’ve been raised subject to somewhat problematic parenting strategies. Having been told consistently that we’re special, can have whatever we want in (and from) life and received ‘participation’ medals when coming last in things, we’re all leaving uni, entering fairly soul-destroying jobs, realising the reality that NOT EVERYONE IS GOING TO LOVE US AND GIVE US EVERYTHING WE WANT ALWAYS and both our self-confidence and self-worth are plummeting. The argument concludes that we’re essentially scrambling around in the sand looking for validation from anyone who’ll grant it (and that includes ourselves).
Our protagonist, depicted with warmth and sincerity by LAMDA-trained Alex Critoph, appears to be a product of this reality: she finds it difficult to develop deep and meaningful relationships, longs to find a larger purpose to both the world and her world, and flits between locations trying to find her place in the that, aforementioned, world. Multi-roling is a smart device for the piece to utilise for that reason: Critoph’s occasional adoption of (convincing) Scottish and Mediterranean accents not only brings supporting characters to life but also makes a lovely, gentle allusion to the central character’s eternal desire to try on other guises and forms in search of her own.
I must admit the marketing copy – ‘story of a girl finding herself through a spiritual ayahuasca ceremony’ – didn’t do great things for me. To the uninitiated, it may read either like a yummy-mummy/yogi hour about (slightly pretentious) enlightment exclusively for the middle-classes or (yet another) fairly two-dimensional and lazy comedy about a ‘Gap Yah’ wild child who takes herself off to Disneyland (sorry, Thailand) in search of herself.
It’s neither of those things, thank goodness, and – even at this early stage of development – you can begin to see the beginnings of a sweet and well-balanced coming-of-age story. You’ll notice I’ve decided not to ‘star’ the production due to the fact that (although they obviously invited reviewers) it seems a little early and unfair to put that mark on it. There’s some way to go – at 35-minutes, the piece does feel slight and whilst I understand the intention behind the story line being somewhat fragmented, not long enough is spent focusing on the trip or experience for you to really get a sense of it. For that reason, the optimistic ending seems a little rushed and abrupt – so, as I’m sure is already the intention, merely fleshing out the material, working out where it seems like the story is currently glitching or skipping scenes and boosting it to the 60-minute-standard-Edinburgh-time-length would be a good next step for the company.
My one other criticism is simply for the creative duo of Critoph (also the writer) and Leah Fogo (director) to work out exactly what Vines wants to position itself as (both in terms of its PR/sell to the audience but also in terms of the tone established at the start of the show). Right now, it’s not quite ‘funny’ enough to stand alone as a full-fledged comedy, but the character doesn’t go on quite enough of a journey (partially due to the sheer time restriction) for it to feel like a fully-realised coming of age story. Of course, it could be both of those things simultaneously if the company so desires (although I expect their emphasis is swinging towards the latter and they’re less bothered about anyone describing it as a comedy, which is absolutely fine). But at this early stage, it doesn’t quite feel like either…yet.
The company’s already getting many things right already though. Direct address comes naturally to Critoph; she has a wide-eyed, confident and commanding presence that holds everyone’s attention. The sound design (Scott Stait) is hugely impressive and slick – the attention to detail goes far beyond what you’d come to expect in a production of this nature and is highly commendable for its ambition. For example, speakers seemingly implanted underneath the set at one time (or maybe in the artist’s pocket?) so the sound itself was coming from the realistic position onstage. That designer isn’t messing about – credit to him. The piece also benefits from a composer, Matthew Gardner, whose contributions again elevate the production values far beyond what you would expect. The montage of film-studio-intros at the beginning (and the decision to make the volume of this so low, as to not drill the point across but let it just settle in the back of your mind) is a lovely way to subtly establish this is a show about beginnings and and about the expectation millennials impose on themselves to make something monumental out of their own existences. As well, of course, as setting the motif of Hollywood blockbusters (which the character often refers back to when trying to define her own existence).
The moment the UV lights turn on is striking, unexpected and a lovely set piece. And, intentionally or otherwise, an optimistic comment (in a contemporary world of unease and discontent) that there is indeed more to our protagonist than meets the eye.
Vines, Theatre N16
14th – 19th March 2017
Book here: http://www.theatren16.co.uk/will-power
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