Skip to main content

Flash Festival 2018: Lay Me Bare by Athena Theatre at Hazelrigg House, Northampton

Following the sexual abuse led Screw You, my second Flash of the week was Athena Theatre's domestic abuse-themed Lay Me Bare. They were clearly not going to break us in gently this year at Flash. However, if there is one thing that Flash does brilliantly, it's tough subjects. The students in the group are clearly passionate about the themes they choose, and nearly always, this translates into a quality, if often tough, watch.

Lay Me Bare depicts the very different characters of Monica Brown (Xara Chisano), Fola Balogun (Maddy Ogedengbe) and Elsie Smith (Farrah Dark), all who though share one despair in their lives, they are victims of domestic violence from their partners. We first meet them all, nursing black eyes, and in a stark opening sequence, they all attempt to hide the visual appearance of this with make-up.

It's a powerful opening, and what follows is a tough exploration of these three peoples lives, one a partner to a guy who uses the prison door like a revolving one, another who wishes to conceive, and a hairdresser whose partner is a hopeless drunk.

Each of the characters is rounded individuals, unlike their partners, who are faceless entities in this piece, perpetrators, but rarely fleshed out. I personally am unsure whether it is a weakness of the piece to not allow us to learn more about these, other than the constant fact that they are the bad guys. It leaves the piece one-sided at times because of this.

What it does allow to happen though, are three brilliant performances from the actors. All become real and desperately sad in their plight. Chisano creates a quiet brooding character, all emotion held within as Monica, the terror portrayed within facial expressions over verbal dialogue.

For me, I found Dark's portrayal of Elsie the lighter of the three, the plight is the same, however, perhaps because of the time setting for this character, the sixties, it for me had an easier approach to the telling, away from the normal shackles of more recent life. Even when bad things were happening, you can't help but think that they weren't as bad in the old days. A ridiculous statement, sure, but one that anyone over a certain age is often very responsible for. Bad things have always been bad things, no matter when they happened.

Finally, we had the anguish of Ogedengbe's Fola Balogun, fuelled with some tremendous realism. The sequence with the doctor becomes a one-sided scene of despair, all from Fola, and apathy from the other in conversation. She is offered nothing from the doctor for help.

Because of the nature of this play, there is little light relief, there is hope in one of the character's future at the end but little else, but other than Dark's lively Stacey, this is, as the material suggests, pretty bleak.

One definite criticism from me though was the use of purely recorded material during two telephone conversations, where neither actor did anything more than a passive expression throughout. It would have been great to have seen at least part of this performed live, or at the very least, some visual impact from the performers. For me, a very curious decision.

I was also curious as to whether these characters were actually based on real peoples stories, due to especially the decision to set one of them in the sixties, with clear birth and death years. Investigating online though, left me just finding a woman's refuge in Australia named Elsie. So perhaps, these were just created lives.

Lay Me Bare was, however, a well-conceived piece of theatre, powerful, telling and very well performed, but obviously not intended to be something to be enjoyed.

Performance viewed: Monday 23rd April 2018

The Flash Festival 2018 ran between Monday 23rd and Friday 27th April 2018 at three venues across the town.


Photo: Looking Glass Theatre

Popular posts from this blog

Review of a A Taste of Honey at Stantonbury Theatre, Milton Keynes

Written by Shelagh Delaney in 1958 at just nineteen, A Taste of Honey was a ground-breaking depiction of modern society, falling very much into the "kitchen-sink" genre, fast developing with writers within the world of British theatre during the fifties. Dealing with a multitude of themes including class, race, age of sexual consent, gender, sexual orientation and illegitimacy, it has rightfully become a legend of theatre. However, almost seventy years later, does this play still resonate with audiences and have a place in modern theatres? The play, set in 1950s Salford, tells of teenager Jo and her mother Helen moving from one rough lodge to another as either rent becomes due or Helen needs to escape another failing relationship. With Jo approaching school leaving age, Helen sees the time is right to abandon her to the world and move on with her own life. When watching A Taste of Honey , you can imagine the controversy surrounding its original release. The content is provoc...

Review of War Horse at Milton Keynes Theatre

Michael Morpurgo's novel War Horse was published in 1982. While it was highly regarded and thought to be his best work, perhaps it eventually came to most people's attention when this striking play stormed the stage, thanks to the National Theatre, back in 2007. Now, War Horse arrives at Milton Keynes Theatre as part of another vast UK tour. Adapted by Nick Stafford in association with the award-winning Handspring Puppet Company, War Horse tells the story of the First World War through the eyes of one horse, Joey, sold for a record price from a family battle but eventually shipped off to war-torn France much to the distress of his original owner, 16-year old Albert. The sprawling and epic story should take some staging, but the vast cast, beautiful structure, stunning folk music and, of course, what this play has become known for, magnificent puppetry, all bring the story to life. This production, directed by Tom Morris and revival director Katie Henry, is a magnificent thin...

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...