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A series of gothic monologues - performed by historical figures from beyond the grave - offer a unique and witty insight into the modern world.Summary
Rating
Ok
I was initially drawn to Glad To Be Dead? because of its unique concept of historical “monologues from beyond the grave” – as a self-confessed history nerd, I couldn’t resist. The show follows the lives (and deaths) of a variety of both historical figures and fictional characters, detailing their biographies via a series of lengthy monologues. The idea is that they all cohabit together in a strange ‘inbetween’ plane of existence; watching the modern world move on through their bedroom windows.
We follow eight different characters and famous figures, some of which are obvious from the get go and others more niche and harder to work out. This is a fun way to keep an audience alert, however, it was a confusing mix to use both historical and fictional people. To help the show run more smoothly and allow audiences to really focus on the script (as opposed to spending the time trying to work out who a character is) it would perhaps be better to choose one ‘genre’ of characters to portray. This would allow for greater focus and appreciation of the writing itself.
The script by Donna and Jade Flack is witty and self-aware. However, it does come across as somewhat confused in parts. There are a few monologues that become bogged down with detail, leaving the audience overly focused in trying to figure out who the speaker actually is. Certain characters also begin to critique modern-day living (Dorian Gray is confused over the speed, frequency and vanity of selfies) and some of these messages end up feeling forced and misplaced (such as Anne Boleyn discussing the ozone layer).
Make It Mine Theatre’s stage design is incredibly minimal, limited to a handful of props for a few select characters. Considering that the show consists of eight, largely solo, monologues, more needs to be done with the staging to ensure that each performance is dynamic enough to capture audience attention. The aforementioned props that do feature onstage are scarcely interacted with. This is a shame as objects can really lend a hand in characterisation, and would also allow for that ‘show, don’t tell’ effect which assists in moving a plot forward in a more subtle, stylised manner, opening up the otherwise weightily-detailed script we currently have.
A special shoutout has to go to Bruce Murray (playing Dorian Gray and Jekyll/Hyde) who does a standout job of commanding the stage, with strong projection and conviction in the script. His portrayal of Dorian Gray is particularly dynamic and charismatic with quick quips and musings on modern-day civilisation.
Glad To Be Dead? is a fun, unique concept which definitely holds potential. There are some strong characters, a witty script and, with a few tweaks this show could really captivate audiences.
Written by: Donna & Jade Flack
Directed by: Jade Flack
Produced by: MIM (Make It Mine)
Glad To Be Dead has completed its Camden Fringe run. It will play Watford Fringe in September, further information available here.
