by Ian Diddams
Images by Rowan Bendle and Ann Ellison
When is a Monster not a Monster? When is a good person not good? When is a bad person not bad? When is wisdom not positive? When is being invisible a terrible thing? What is the truth?
Bristol Old Vic took Patrick Ness’ novel “A Monster Calls”, based on an idea of Siobhan Dowd, and with the help of Adam Peck created this quasi-fantasy tale of an adolescent coming to terms with teenage angst, awakenings and the complex realities of the adult world. Whilst not harnessing Sondheim (“Into The Woods”), Wilde (“The Picture of Dorian Gray”) and Shakespeare (Macbeth’s witches) nonetheless tiny elements share some areas of those three… but more of that later…
“Next Stage Theatre Company” perform this powerful story of growing up this week at The Mission Theatre, Bath, in the round. A cast of eleven mixed youth and adults form the principal and secondary characters and general ensemble Greek chorus style seamlessly. Directed by Alexa Garner she has carefully crafted this beautiful tale into the powerful vehicle that intensifies its emotions as the play progresses. It is a simplistic play at face value – young teen faces bullying, adult repression, nightmares, and the worst scenario imaginable at such a youthful age and eventually learns the solution to dealing with life. In this regard the youth orientated novel by Ness is quite clear – but its more than just teenage angst. This is a play of onion skins, where if desired peeling away each layer reveals more and more philosophical and at times disturbing facts – possibly about oneself.
The primary character is Conor O’Malley wonderfully portrayed by Fin Hancorn. Its an emotional role and Fin clearly digs deep into himself to reflect all the emotions demanded of his character – he was clearly emotionally drained at the final curtain last night, full kudos for a young actor. He is more than ably contrasted by the Monster, superbly portrayed by Nicky Wilkins as the overbearing and at times demonic, Freddy Kruger like, Yew Tree … that despite the name and the presence reveals his true purpose at the play’s end.
Conor’s main protagonists are played by Jonathan Taft as the arch bully Harry, and his two henchpersons Sully (Poppy Birch-Langley) and the fully convincing as the unconvinced bully Anton (George Chivers). Treading that wary line between teachers that “don’t get it” while simultaneously caring for their charges are Bob Constantine as Mr. Marl, and particularly Perrine Maillot as Miss Godfrey. Adding insult to injury are two of Connor’s family members, estranged Dad (Mayur Batt) who has lost all realistic connection to his son whilst trying to clumsily help him – and failing, and Grandma (Kay Franksen) who redeems herself at the end after being impervious to teenage needs or Conor’s own wants. Members of the cast also appear throughout as that Greek chorus style ensemble.
Not everyone is against Conor though – Lily is Conor’s best friend (Millie Sharma) though Conor drives her away to a position of frustrated friend looking on from afar. That just leaves Conor’s mum, beautifully portrayed by Hayley Fitton-Cook as her health deteriorates, the one character throughout that maintains a caring, loving, and symbiotic relationship with Conor. The stage chemistry between these two is palpable and reaches its peak in the beautifully surreal healing scene that is played out in their minds but enacted with no spoken word, other than a song, and dance and mime and the use of Makaton to communicate through their void. The Monster plays his part also in the scene as the barrier between them whilst being the source of the hope of healing.
Overall the play works through multiple layers … themes reoccur though not always obviously. The Monster tells a tale of an apothecary – a practicer of old medicine of plants and herbs – while then being the last chance cure from his bark. The overarching meme however is how good and bad can be mixed – a bad pious parson, a good greedy apothecary, the misery of invisibility and the pain of being visible. These are all flipsides to perceptions; the complexities of adulthood that Conor is beginning to enter and where self-delusion is the greatest barrier of all.
Which just leaves the creatives to praise. The set (Alexa Garner, Liz Wilson, Brian Fisher) is a simple one with excellent use of various props in multiple uses – a hatstand becomes a grandfather clock becomes a hospital I.V. pole, stools also represent industrial mechanisation and so on. The pièce de rĂ©sistance is undoubtedly the yew tree plinth on which the monster spends most of the show, and height differentials are subtly crafted where the Mission’s layout provides. Costume is simple and contemporary – clever use of school ties to juxtapose the earthy woodland nature of the yew tree, a simple hospital gown and the ethereal Monster garb. Lighting and sound (Kris Nuttall, Rowan Bendle) were subtle but oh so effective – the soundtrack was sublime. Alexa, director, was full of praise for her hard working stage manager – the ironic sign of a great stage manager being that you never know they are there!) Liz Wilson. Choreography totally spot on (Hayley Fitton-Cook and Dynamic Stage Action)
So what of Sondheim, Wilde, and Shakespeare? Shades of “No-one is alone” the worst thing of not being talked about is not being talked about… and is the Monster leading – or controlling Conor? These themes all whirl around this play constantly… until finally all is made clear.
“If you speak the truth – you’ll be able to face anything.”
“A Monster Calls” is performed by “Next Stage Theatre Company” at The Mission Theatre, Bath nightly at 7.30pm from Tuesday 26th November until Saturday 30th November 2024.
Tickets from https://www.missiontheatre.co.uk/tickets?category=A%20Monster%20Calls
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