Night Out At: Our Stories
Our stories
“Nothing to prove here” Emily Hughes repeats to a rapt audience in the first monologue of Our Stories. The audience have laughed, empathised and are now quietly frightened in ‘Early Doors’ by Jimmy Fairhurst and Louise Haggerty. Hughes’ statement holds true for her character and sets the scene for the rest of the evening, where each performer is utterly captivating and at ease on stage. They assert their roles in character and as the audience relax, honestly, have nothing to prove. Performed in Hope Street Theatre’s Studio 4, the space is intimate, and the talent is remarkable.
The eight performers (Emily Hughes, Georgie Lomax Ford, Dan Fieldsend, Lara Rose Hancox, Faye McCutcheon, Harry Privett, Kimberly Athawes, Reiss Barber) each perform a monologue and duologue that flow seamlessly from the last. Taken from published works, local writers or self-written, each piece is performed with humanity and charm. They centre around relationships, many with a significant other, friends or family, and many, at some point, pay homage to Liverpool. Be it a Scouse accent, ripping into Warrington, or a simple ‘f*ck the Tories’, local stories are brought to light in this delight of a showcase.
With only a chair or two as props the focus is unrelenting on each actor. They don’t miss a beat. Witty, clever scenes are acted out, with convincing multi-roling from Athawes and Barber- ranging from couple dynamics to family meals out. Occasionally, the acting loses power when performers are seated as it becomes difficult to see. In the same vein, shorter monologues, rather than packing a punch, lack enough substance to leave a mark unlike the longer ones where the audience are drawn into someone’s life for longer. Having said that, the overall effect of varying the pieces maintains the pace.
At it’s heart, Our Stories relays the different corners of everyday life. From awkward interactions the day after a night out (McCutcheon and Privett are sublime in their halting, quick-witted narrative), to finding someone you didn’t quite think you would end up with (both Hughes and McCutcheon deliver comic, endearing performances that escalate rapidly), Our Stories covers a lot of ground.
Both mental and physical health are raised (Fieldsend being whole-hearted and humorous in his self written ‘Lads’) as well as the premise of actions having dire consequences (Barber is pitch-perfect in his self-written ‘Early Doors’ as he navigates a difficult situation and comes out a little lost). Excellently cold, Privett is menacing in his self-written monologue ‘Don’t Give Me Something to Read’ as the comedy filters out and a sense of unease takes its place.
Although varying in theme, each piece balances serious themes with the smaller trivialities in life. Having the audience in stitches at one point and then holding their breath at another demonstrates the capacity of the performers to compel. What could have been disjointed was an evening of wonderful talent woven together. I, for one, am excited for whatever these performers come up with next.
Written by, Hannah Goldswain