“You stop having dreams don’t you, when real life keeps
on slapping you in the face, down and down…”
There’s a surreal moment near the end of this play when the
lighting flicks on an off and the actors move around the central space like two
people filmed in stop motion on a CCTV or, more accurately, two rats in a laboratory.
The Hope’s promethean stage has a “room” delineated by string, rope and ribbons
in which Michael Black (The Lad) and Alana Connaughton (The Lass) spend almost
all of their time: they’re right in front of us and yet that thin barrier holds
throughout their mesmeric double-header. At one point The Lass looked out of
the “window” at the folk next door and I strained to see what she was seeing…
Starved tells of two youngsters on the run from a crime that
only gradually becomes apparent. They’re exiled from friends and family, trying
to avoid the law in a miserable bedsit on one of Hull’s most unforgiving
estates – you can imagine this scenario all over the country and the human
dynamics take you away from any knee-jerk political reading. Universal credit
gets a mention but only in the context of just one more thing dragging people down;
another slap in the face for people who can’t see straight for blinking.
All that matters is the relationship before us, the bigger
picture is a luxury they simply cannot afford as they live from hand to mouth
on the brink of disaster. The Lass stays in as her fella goes out scavenging
bringing them back Cup-a-Soups and, if they’re lucky Rich Tea biscuits although
the class divide between even these two is highlighted by her preference for
Custard Creams or even Hobnobs.
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| Alana Connaughton and Michael Black. All shots credit lhphotoshots |
She’ll get what she’s given and the two drink to excess
every day in the absence of anything better to do and to deaden the ever-present
fear that drives them under and further away from facing the consequences of
what they have done.
“You push and you push and you push… you make me like
this!”
The relationship is skilfully balanced with the couple sniping
constantly and making up as they go, there’s affection, jealousy and there’s
blame; are they getting to know each other or just doomed? It’s to Michael
Black’s credit that the play leaves almost everything open: this is a cycle of
dangerous possibilities and yet there’s a distant hope for the young people.
It’s in our consideration of just how the two might move on
that the play is “political” as what it presents feels almost like a documentary
than a drama. “Everything and everyone is pointless…” and “it’s just getting
worse…” how are we to contribute to a solution?
The direction from Matt Strachan enables the two performers
to unleash so much emotion within this constrained space – smaller even than
usual – and both are amazing to watch, Alana crying real tears of frustration,
fear and rage as the man she loves or could love, blows up in her face. Michael
Black has a brooding presence and portrays a softness that gives The Lass and
us hope.
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| Caught in a web... Credit lhphotoshots |
Mention should be made of Ruth Phillips’ movement direction –
a lot to choreograph in that imagined room, as well as the design from Esteniah
Williams, Lighting from Aiden Bromley and Sound from Nicola Chang.
Ithankyou Theatre rating: **** Another transformative
experience at the Hope and a couple I will not soon forget. Their personal
becomes our political in subtle and challenging ways, a smartly sculpted story.
