Go see this powerful and moving show before it closes on 9 April, says Richard Davies, but be prepared for a raw, emotional experience.
Venue: The Rose Theatre, Kingston
Dates: Until April 9th
OUR VERDICT:
After watching ‘A Monster Calls’ at the Rose Theatre, Kingston, I approached a group of schoolboys on a drama club night out.
‘How many stars would you give it?’ I asked. ‘Five!!’ one replied instantly. ‘No, I think it’s a four,’ said another, and four quickly became the consensus view. ‘What did you like about it?’ ‘The lighting!’ ‘The tree - the tree was amazing!’ Overall, I think they called it about right.
What I loved about this show was that right from the start, I felt viscerally that THIS IS WHAT THEATRE IS FOR.
For the last two years, we’ve lived our lives virtually on flat screens. Here at last is something beyond real - a total theatre experience of drama, movement, puppetry, sound, music, and lighting. I found it thrilling to see it return, like someone you love coming out of a coma.
If you want to convince your mobile-obsessed teenager that theatre is relevant, this is the show to take them to.
But first a warning: ‘A monster calls’ is about loss. More specifically it is about dying from cancer.
At times it is harrowing, gut-wrenchingly raw. But if you’re OK with that, this is one of the most moving treatments of the subject you will see.
The play is written by Adam Peck, based on a book by Patrick Ness, based on an original idea by the late Siobhan Dowd who died tragically young of cancer.
It tells the story of Conor, a thirteen-year-old boy whose mother is sick with cancer. He resents his grandmother taking over while his Mum undergoes treatment ‘why do we need help?’ Conor is being bullied at school. His inability to show weakness by accepting help causes him to alienate his one friend. A teacher tries to help, but Conor cannot ‘grass’. And when he wants help, he can’t get it.
His Dad, who now lives in the US with his new family in a small flat, tells him that there’s literally no place for him there. And here’s where the tree comes into the story - an ancient yew, magical, supernatural, and awe-inspiringly wise with powerful stories to help Conor come to terms with his situation.
The tree is a masterpiece of stagecraft, created with ropes and lighting to produce thrilling movement and shadowplay. It is terrifyingly brought to life by Keith Gilmore thanks to his powerful physicality and acrobatics.
The tree is one example of the strong creative vision that underlines the production and I congratulate Sally Cookson and the directorial team.
From the first moment to the last, everything is on point, no beat is missed.
There were also some impressive performances by the actors. I was not sure at first about Anthony Aje as Conor, but he grew on me.
What he sometimes lacks in articulacy, he more than makes up for in emotional honesty and relatability.
Bridgette Amofah who plays the mother has a shining radiance despite her grim role, as well as a wonderful singing voice. I also found Greg Bernstein convincing as a sadistic bully.
The play is on until 9 April - if you can stomach the theme, I strongly recommend you to see it.
