Small change from Peter Gill at the Omnibus theater
Everyone is upset on this show, although some have clearer reasons than others. Ms Driscoll (Tameka Mortimer) struggles with a family life that is far from ideal, with little (if any) help from Mr Driscoll, whom she suspects of seeing someone else. due to his frequent absences from their home. . Vincent, her son, was apparently kicked out of the local Catholic parish church – why, like so many others in this play, is never fully explained. His friend Gerard (Andy Rush) ends up being the one to ooze guilt as an adult, while Gerard’s mother Mrs Harte (Sioned Jones) is rather sour, with far more reproach than compliments.
The whole is largely made up of long rectangular blocks, moved as much as they can be. Otherwise, each scene looks like the last, whether the scene is in the workplace or at home. What starts out as a series of seemingly unrelated first-person stories eventually come together to form a somewhat cohesive whole, though I have found myself, with alarming regularity, completely baffled as to who or what they are. characters were talking. For example, in a late scene, Vincent concludes: “I don’t blame him, I can’t blame him”- I have no idea who ‘he’ or ‘she’ is, or what he doesn’t blame them for and can’t blame them for.
I also don’t know if the script is in advanced chronological order (I doubt it). In the end, I couldn’t appreciate any of the characters. Gérard and Vincent start doing stupid things like teenagers, as if they were school versions of the retirees of Last summer wine find things to do to ease their boredom. Later in the play, however, there is a long and largely philosophical scene in which Gerard gets so enraged that he barks at Vincent, “You belong to Me“, his argument being”Because i say so”. I was just as bewildered as Vincent by this, and it was far from the only time someone suddenly broke out with a weird, rambling statement.
The production portrays quite well the impact of the past on the present and the future. The show is apparently based in Cardiff, although it wouldn’t be understood from the character accents. If only that was the only problem with this production: portrayed differently, there might have been a better understanding (or even an understanding in the first place) that there are some things that weren’t said to a when homosexuality was still illegal in Brittany. Here there are expressions of love between the two men on stage but for some reason despite the private setting of their conversation it doesn’t quite convince.
Sexual orientation is certainly not the focal point of the show, which seems to be more related to exploring why people are pressured to behave in certain ways, including being taken by their own. own hand. The actors do well with what is given to them, but the script is too elaborate, with largely irrelevant descriptions of people, places and objects. At the brisk pace, it could have been more engaging as a radio play.
Chris Omaweng live review
Return home to face the truth and find the moment that defined you. Peter Gill’s poetic masterpiece receives a timely rebirth.
Set east of Cardiff in the 1950s and 1970s, Small Change centers on Gerard, a troubled man in his late youth trapped in his past. He relives his vibrant childhood, trying to figure out what made him the man he is.
WRITTEN BY PETER GILL
PRESENTED BY THE TWO THEATER BARRELS
Sioned Jones – Mrs. Harte
Tameka Mortimer – Mrs. Driscoll
Andy Rush – Gerard
Toby Gordon – Vincent
Directed by: George Richmond-Scott
Movement director: Rachel Wise
Scenography and costumes: Liam Bunster
Lighting designer: Ali Hunter
Sound designer: Lex Kosanke
Production manager: Gabriel Finn
Casting by Jane Frisby
Photo credit: Jon Holloway
SEP 14 – OCT 2, 2021