Review: Voices From Home at Theatre503

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…

For more details about Voices From Home, visit brokensilencetheatre.com or follow @BrokenSilenceT

Review: Voices From Home at the Old Red Lion Theatre

Following a successful first outing last year, Voices From Home was back this weekend for a second short but sweet stay at the Old Red Lion. Curated by Tim Cook of Broken Silence Theatre – themselves a Brighton-based company – the two-day showcase featured five short plays on a broad range of themes, created by an all-female line-up of emerging writers from across the South East.

The evening opened with Sungrazer by Sussex writer Clare Reddaway, directed by Peter Taylor. In Sweden, sisters Annika and Inga can’t quite believe they’re related. They hold very different views on just about everything, but particularly about Annika’s job at the local nuclear plant, which comes to threaten their future together in a number of different ways. With strong performances from Eleanor Crosswell and Emma Howarth as the two bickering sisters, this gently humorous piece explores family tensions against a backdrop of scientific curiosity and environmental concern.

The future of our world is also at stake in M** & Women by Buckinghamshire’s Sydney Stevenson. Directed by Tim Cook, the play introduces us to 1 and 2 (Melissa Parker and Eleanor Grace), who are standing guard over the last man on Earth. The rest have been wiped out by a mysterious epidemic, leaving the women in charge of a crumbling civilisation. Except women and men really aren’t that different; we all love, hate, make inappropriate jokes, run businesses, start wars… Despite the title, in reality this is a play not about men and women but about human beings – and it speaks just as clearly to us now in 2018 as in any fictional future that may lie ahead.

Flying Ant Day, written by Jo Gatford from Sussex, and directed by Elizabeth Benbow, offers a fresh perspective on the role of “women of a certain age” in society. Through the story of mum-of-two Alice, who’s played with poignant vulnerability by Jennifer Oliver, we’re invited to look again at a mother – but this time to see her, not her children. Alice has begun to feel like she’s disappearing, piece by piece; her husband barely notices her any more, and her best friend Karen (Emmie Spencer) is too busy being super-mum to her own three kids to lend more than a passing ear. This is an incredibly impactful play, and one that I’d love to see developed further.

Emma Zadow’s very funny Norfolk-based play The Cromer Special, directed by Charlie Norburn, takes place in a fish and chip shop on Christmas Day. Maggie’s working behind the counter, despite having no customers – or indeed any fish – and has been joined by her best friend Lucy, who’s been driven out of her own house by her sister’s avocado-loving boyfriend. The play doesn’t hold back in its witty dissection of the class divide that’s sprung up between the Cromer locals and the students at nearby UEA, and this – along with brilliant comic performances from Claudia Campbell and Abbi Douetil – earned it some of the biggest laughs of the evening.

After the hilarity of the previous play, the evening ended on a somewhat darker note, with Home Time by Olivia Rosenthall from Essex. Directed by Tess Agus and performed by Isobel Eadie, the monologue begins with a scene many of us will know all too well – the rush hour commute. A grim picture is about to get even worse, however, when a young woman is sexually assaulted on a packed tube train, unseen (perhaps) by her fellow commuters. It’s a horrifying scenario – not least because it’s all too easy to believe that it actually happens – and very powerfully told, with a conclusion that’s simultaneously mundane and devastating.

As well as much-needed support for regional talent, it was also refreshing to see a programme championing female writers and performers. Each of the five pieces in Volume Two of Voices From Home brought something different to the stage, resulting in another excellent evening full of variety and mixed emotions. Despite all being under fifteen minutes, each play is able to tell a complete story – although most would certainly work also as longer pieces – and each leaves us with something to go away and think about (even if it’s just the merits, or otherwise, of avocados).

For future Voices From Home events, visit brokensilencetheatre.com.

Review: Voices From Home at The Old Red Lion

The inaugural Voices From Home event from Brighton-based Broken Silence Theatre brought together writers from the Home Counties and beyond to showcase new work from outside the capital. Four thought-provoking short plays all started from the theme of “trust” before heading off in a variety of directions to bring us an evening populated by outspoken refugees, dodgy psychics, estranged sisters and reluctant lovers.

The latter feature in Love Me Tinder, written by James McDermott from Norfolk and directed by Roman Berry. Emma Zadow and Mauricia Lewis prove that opposites do (eventually) attract, as spiky Tina and sweet-natured Ellie cautiously embark on a Tinder-based romance beset by false starts and misunderstandings. It’s a funny and very relatable piece about the many ways we self-sabotage whilst dating out of fear of getting hurt, but it also explores the unexpected and touching ways in which new love can change us for the better.

There’s a similar blend of laugh out loud humour and human vulnerability in Danielle Pearson’s The History Club, set in the writer’s home county of Berkshire, which examines how grief can make us do extraordinary things. In this case, three women engage the services of a less than convincing psychic to put them in touch with their lost loved ones. Directed by Jennifer Davis, the play sees Vicky Winning clearly enjoying herself as Florence, with moving performances from Anne Rosenfeld, Helen Belbin, and particularly Dominique Moutia as a teenager struggling to come to terms with the death of a schoolfriend.

The heartbreaking Trust, written by Sussex-based Ella Dorman-Gajic and directed by Raymond Waring, shows us the awkward reunion of two sisters, played by Alex Reynolds and Abbi Douetil. From a close childhood relationship, marked by a shared love of S Club 7 and a wall chart plotting their heights over the years, Sarah and Lotty become increasingly estranged as their gran’s health deteriorates. It becomes obvious that she effectively raised them in their mum’s frequent absence, and the play ends on a hesitatingly uplifting note as the two attempt to build bridges and come to terms with their loss.

Each Voices From Home event will also feature a Headline Playwright; the first of these is Sevan K. Greene, whose play Asylum – directed by Tim Cook – opened the evening with an alternative and eye-opening view on the first world response to refugees. Lynn (Rosalind Adler) has got an empty house and a kind heart, but never really expected to be taken up on her offer of taking in a Syrian refugee – and when Mohammed (James Hameed) is sprung on her by his caseworker Mike (Matt Kyle), he’s not quite as gushingly grateful as she’d expected. As with all the other plays, Asylum offers lots of laughs, but they grow increasingly uncomfortable as the piece goes on, and we’re forced to examine our own motives, assumptions and reactions to those less fortunate than ourselves.

With so much theatre going on in London every day, it’s easy to forget that there’s plenty to enjoy elsewhere too. Voices From Home co-producers Tim Cook and Katharina Rodda have assembled a strong line-up for their first showcase, bringing a little piece of the Home Counties into the capital and proving to any sceptics out there that good theatre can and does exist outside the M25. Here’s hoping we don’t have too long to wait for the next evening; I’m looking forward to seeing what my home county of Kent has to offer…

For more details about Voices From Home and Broken Silence Theatre, visit brokensilencetheatre.com.


Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉