Bristol Old Vic Studio, 11 June
Bristol Old Vic Theatre School
Describing this production too briefly would probably put off most people. It’s a musical based on the real-life murders of five prostitutes in the London Road area of Ipswich in 2006 – that’s fine, if a bit dark. But it’s also verbatim theatre – all the words are taken from interviews that writer Alecky Blythe conducted with residents of London Road and are performed as precise copies of the original voices – the intonation, pauses, repetitions, accents, ums and ahs are all learned by the actors. And then a level of stylisation is added in the form of songs and song-like sections that perhaps most closely resemble poetry.
All of which could have added up to something unwatchable in the wrong hands. But this is more than just watchable, it’s actually pretty good, though the verbatim dialogue does take some getting used to. Key to this is the excellent script. Blythe took what were presumably many many hours of many interviews and cut together a story of a community both haunted and hopeful, with plenty of those small humorous moments that real life serves up. But a good script is nothing without a good cast, and here Bristol Old Vic Theatre School really delivers.
Once again the Studio Theatre was used to good effect, with the stage area and audience chairs arranged at the start as if for something like a town hall meeting. The cast milled about a tea trolley making cups of instant coffee and settled around a cheap folding table and a noticeboard covered with flyers. As the live orchestra on the balcony started up and hush fell over the small but eclectic audience, we learned that this was a Neighbourhood Watch meeting, that the London Road residents want to wrestle something good out of the horror they have lived through.
The cast all play multiple roles, fleshing out the story to include visiting journalists, police, prostitutes and other townsfolk, but they have clear principal characters who make up the Neighbourhood Watch committee – concerned citizens who obviously had plenty to say to Blythe and were trying to be positive for the future. This positive spin shines through the story, though it’s hard not to wonder what the tone might have been if a different set of people had opened up to Blythe.
With so many changes in character with just a subtle adjustment of costume or props, it’s perhaps little wonder that there was an occasional slip into comic overacting. And I couldn’t help but be irritated to spot that the first photographer depicted carried both a Canon camera and a Nikon, which is really not realistic. But that’s a pernickity detail that my being a bit of a photography geek taught me! More importantly, the “real words” added a certain something to the show – it felt more realistic than the average scripted drama despite all the repetition and singing.
Though it is very much an ensemble cast, I’d like to give special mention to Bethan Nash who was excellent both in her main role as Julie, organiser of the local “In bloom” gardening competition, but even more excellent in the short scene of an interview with three prostitutes, which ended with Nash appearing near tears despite having said very little. That scene was exceptional and I don’t wonder that it is the one section of Blythe’s original recording that was selected to be played toward the end of the show.
For all my praise, this is an odd show that probably won’t be to everyone’s taste, but if you’re willing or even eager to experience something a bit different, I would encourage you to try it.
Disclaimer: Tickets were kindly supplied to me by the theatre in return for an honest review.