Bush Theatre, 8th November 2017
For me the best plays take a very few ideas, or even better one idea, and then explore those ideas from multiple perspectives. If the writer loads up the text with too many ideas and messages, usually because he/she can and “it would be a shame not to” it can lead to confusion and drift in my simple mind. Less, as is so often the case, is usually more.
Thomas Eccleshare’s play Heather sticks fast to this rule and I loved it. It first popped up at the Tobacco Factory in 2014, again in Edinburgh I gather, and is now at the Bush for a couple more weeks. I implore you to see it.
I won’t detail the plot and central conceit as this would spoil the elegant twist. The play takes a children’s novel, in the vein of that wretched Potter (love JK Rowling, hate her work, sorry), as a springboard to explore the question of authorial identity and the relationship between art and the nature of the artist that creates it. We get to think about who we find acceptable in the creation of mainstream culture, how culture is represented, owned and marketed and whether rehabilitation is possible or desirable.
There is formal invention in the structure of the play, again I won’t delve too deeply to avoid spoiling, and some very clever and funny wordplay. The three parts of the play do not always entirely ring true but this is sort of the point in a play about how we should regard the representation of the written word. The two actors, Ashley Gerlach and Charlotte Mella, have the characters and the relationship between them absolutely nailed down, and the pace and rhythm of the production under Valentina Ceschi’s direction (she partners the writer in the Dancing Brick company) is spot on. As is the design of Lily Arnold.
That’s it. I won’t labour the point. Along with The End of Hope at the Soho Theatre this is the best way I can think of to spend an hour, (actually slightly less in the case of Heather), this weekend. Take a friend, discuss, eat.