Since its inception in 2017, Broken Silence Theatre’s Voices From Home has been championing new writers from across the South East, and more importantly from outside the capital. Volume 3 found the event in a new home at Theatre503 and showcasing five original pieces on a variety of themes and covering a broad emotional spectrum.
Anatomy of a Victim by Rachel Tookey (Surrey) is an intriguing and slightly unsettling piece about the murder of a young woman. The play starts with an unsentimental laying out of the facts from A (Abbi Douetil) and B (Ella Dorman-Gajic), who are a bit disappointed at the clichéd nature of the young woman’s disappearance, and convinced they’ve just uncovered a huge miscarriage of justice. Which is all well and good, until we’re taken back to the beginning of the story, and meet Rebecca (Hatty Jones) – the victim – who at this point is still alive and well and full of plans for the future, as she tells her friend about a frightening encounter she’s just had with the boyfriend that A and B are so keen to exonerate. The play ends on an abrupt and ambiguous note, leaving us to make up our own minds about what really happened that night, and slightly chastened by the realisation that behind every sensational true crime documentary, there first has to be a real victim.
From the first Kent writer to be featured in Voices From Home, Mark Daniels’ My Boys is a bittersweet portrayal of a grieving family as they take their first steps towards reconciliation after a lengthy estrangement. Stacha Hicks gives a particularly powerful performance as the newly widowed but still delightfully stoical Pauline, alongside David Ellis and Steven Jeram as her sons Jamie and Lenny. Tomorrow is the funeral of their late dad Len, and as he lies in his open casket, the remaining family members finally have a chance to say all the things they couldn’t say before – but have they left it too late? Funny and sad in equal measure, this enjoyable play about family and forgiveness will make you want to call your loved ones (especially if you’ve not seen them in a while) just to say hi.
Also on the topic of grief, Like and Subscribe by Berkshire’s Rachel Causer sees another awkward reunion, this time between two former best friends. One, Polly (Alanna Flynn), has gone on to become a successful podcaster, while the other, Kas (Antonia Salib), has been struggling to come to terms with her mum’s death. With Polly portrayed as superficial and self-absorbed, we’re immediately inclined to dislike both her and her brand of forced positivity, particularly when she appears to be trying to capitalise on her friend’s grief. But things aren’t quite as simple as they seem, and behind the weird podcast voice and fixed grin, there’s more to Polly’s positivity than meets the eye. Like and Subscribe is a witty and relatable story about friendship and the lengths we’re prepared to go to convince the rest of the world we’re fine – even when we’re anything but.
In Losers by Precious Alabi (Essex), two complete strangers meet outside a club. It’s 31st October 2019, and Her (Dominique Moutia) is having a bad night when she runs into Him (Andy Sellers). He thinks she’s superficial, she thinks he’s rude – but as the minutes tick down towards Brexit, they realise that maybe they have more in common than they thought. Though it may sound like it, Losers isn’t really a political play; it’s about two human beings finding a brief connection in a world that’s not treating either of them particularly well, and the many ways in which we make assumptions about others based on first impressions. The conclusion – in which Her has a revelation about how badly she’s behaved – feels a little bit too neat and tidy, but were the piece to be expanded into something longer, there’s potential here for some really interesting character development on both sides.
Last but by no means least, My first time was in a parking lot by Phoebe Wood from Norfolk is a powerful and disturbing story of one woman’s teenage trauma and the lasting impact it’s had on her life, relationships and mental health. Though Mira (Eleanor Grace) talks about her first time with seeming nonchalance, each time she returns to the story it becomes a little clearer that there was a lot more to it than we first thought – and not in a good way. Eleanor Grace gives a brilliant solo performance as this complex character who masks her pain with humour, and while it’s difficult to watch, at the same time this is the kind of piece you want to see again because there’s so much detail in those few short minutes.
With high quality writing, direction and acting across the board, the third outing for Voices From Home was as enjoyable, varied and thought-provoking as the previous two, and as always, it’s refreshing to see talent from outside London being given a voice. Roll on the next one…