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This staged reading is given a little extra sparkle by its star performers, who draw out every ounce of tension from an intriguing story. Summary
Rating
Excellent
There’s something so refreshing, exciting, about what Bespoke Plays are doing. Stripping a new play down to its bare bones by presenting it as a staged reading really means there is very little else to focus on except for the strength of the writing. Although tonight, considering the calibre of the two performers drafted in to read Analogue, maybe there’s a little more than the writing to make this truly shine.
A one act play, set over one evening, Analogue has a classic Frankenstein set up; creator and creation, human and monster, although here the monster is replaced with a human-like android. And whilst Frankenstein asked us who the real monster was, here that question is posed differently: who has the real humanity, the actual human creator or the robot, with its pre-programmed feelings.
Analogue is also set in a very different world from Frankenstein. This is a dystopian future, which does seem to be director Mimi Collins’ forte. She takes Christine Boylan’s beautifully subtle script and even without any staging allows us easily to picture the luxurious room, with the world outside broken and every moment filmed through the eyes of the android, so that nothing can be kept secret. Not unless you do something rather drastic.
Inside the room is master, well actually mistress/creator, Hyacinth and servant/ android Cleve. Hyacinth has returned home, and as is the norm, Cleve is there to see to all her needs: tea, massage and sexual satisfaction. OK, that last one didn’t come up in Frankenstein! It does render Cleve as little more than a life-sized sex toy. But tonight is different, because it’s Cleve’s anniversary, or birthday as Hyacinth insists calling it, and the pair are about to exchange gifts that will change their lives, and Cleve’s very existence, in ways that could not be expected.
As a staged reading, you don’t expect a fully polished diamond. It’s very much a chance to test out a play quickly and simply. Even so, as with Bespoke’s previous show, The Water Party, this doesn’t feel far from a final cut. There is, perhaps, a need to look at Hyacinth’s arc, to tighten up her reasoning for the gift she presents. She does seem to skip from vindictive owner to caring lover once too often, leaving the audience unsure if she is to be admired or loathed for how she treats Cleve. The opening pages could also be cut back slightly, to allow us to reach the grand reveal of Hyacinth’s gift slightly earlier. Whilst it’s good to give us time to grasp fully their relationship, the build-up feels slightly stretched, whereas an earlier reveal might instead allow additional time for the repercussions to be argued out further. What does work, though, is an ending that speaks more than any page of script ever could.
As much as a staged reading should be all about the writing, it’s impossible not to overlook the contribution of Analogue’s stars, Freddie Carter and Danielle Galligan, maybe best known for Netflix’s Shadow and Bone. Even performing script-in-hand, and after just three rehearsals, they breathe incredible life into their characters, drawing out the humour and sexual tension to its full. You do wonder what they could bring to a full production if that were to happen. It really is a joy to watch them frizzle around each other.
Staged readings obviously aren’t new, but what Bespoke are trying to do with them in London right now is something to be admired and cherished. If you want to see a play in such a raw form do check them out as they aim to bring new plays to the stage on a very regular basis.
Written by: Christine Boylan
Directed by: Mimi Collins
Produced by: Bespoke Theatre
Analogue has completed its current run. To see what else Bespoke are working on, check out their website here.
