I came just a little late to Philip
Ridley as a playwright, missing his explosive 1991 début
The Pitchfork Disney. Watching this
21st-anniversary revival, it is still easy to see why it made such an
impact. Its extremity of situation and poetic language (the Wikipedia
description of it as “a dreamlike piece with surreal undertones” is a
masterpiece of understatement) anticipated many elements of what in the
following few years would become known as “in-yer-face” theatre.
But what Ridley unleashed most of all, and what he has seldom been
equalled at, is an electrifying ardour for telling stories and the
value of same. As agoraphobic twins Presley and Haley Stray recount
dreams, imagined incidents, or a post-apocalyptic fantasy of the world
outside, they are enacting ways of understanding and coping with the
world and with each other. The wildest and most unreal elements rub up
against the everyday: proceedings begin with a screaming argument about
types of chocolate. And sometimes, as a programme essay observes,
Ridley has proven prophetic: who, watching in 1991 the charismatic but
menacing visitor Cosmo Disney give a demonstration of his carny shtick
of eating cockroaches, would have foreseen a regular stream of
celebrities undergoing bush tucker trials on primetime TV? Ridley’s
“East End Gothic” milieu feels less exotic now, despite or perhaps
because of being staged only a couple of miles from the playwright’s
home turf of Bethnal Green. But the sheer creative energy remains
undiminished.
Chris New sets out to be physically unprepossessing as Presley; it is
when he opens his mouth that he makes his presence felt, particularly
in his lengthy, detailed, central dream-story of a serial killer called
the Pitchfork Disney. This, in turn, gives Nathan Stewart-Jarrett a
chance to ease up as Cosmo, after a long stretch of exuding
self-satisfaction from every pore and Machiavellian manipulation of
Presley. Mariah Gale performs selflessly in that, after an intense
two-handed opening, she spends most of the next hour or so acting being
asleep, with only occasional nightmare outbursts; but even her
restraint is outdone by Steve Guadino as the virtually mute,
gimp-suited late arrival Pitchfork. Director Edward Dick, who in 2009
revived Ridley’s second play
The
Fastest Clock In The Universe, knows just how to mix the reality
and the un- into a most disturbing blend.
Written for the Financial
Times.