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theSpace on the Mile – Space 3
A deeply moving and complex taleSummary
Rating
Excellent
Graveyard of the Outcast Dead is dense and layered, its plot and deft writing serving up humour and tragedy, with a side of heavy symbolism. This is a boldly expressionistic inspection of the ‘Winchester Geese’: London prostitutes, hamstrung by both Church and State.
The musical aspect is high quality and sensitive to the flow of the plot. Kira Mason’s writing and Matthew Atwood’s direction allow for fluid transitions into moving pieces of music that never feel contrived or awkward.
Mason’s writing shines when it comes to the split personality of a restless ghost haunting Cross Bones Graveyard – an unconsecrated resting place for the marginalised of London. Together, Blood (Eilidh West), Rust (Olivia McIntosh) and Brick (Clare Wooton) form more than the sum of their parts to paint an incredibly nuanced and detailed portrait of the inner character of a female sex worker caught between violent political and religious forces. West, McIntosh and Wooton’s energy dominates the stage, and their intense standoffs are often accompanied by incredible instrumental conflict as they fight to ruin each other’s musical expressions.
Across the board the acting is excellent. Ewan Burns, in particular, gives the show a strong core as Tender, a mysterious figure whose actions control the plot’s place in time. He is charismatic and devilish, generating both horror and hilarity as his emotionally deft performance propels the plot forward.
The play revolves around Lover’s (Alexander Tait) efforts to solve Tender’s riddles in order to contact his dead lover, an amalgamation of Blood, Rust and Brick. Every time Burns hits his drum, we are catapulted years into the past to Blood, Rust and Brick’s Christmas celebrations. Each presents their own spin on a folk story, desperate to express a unique part of their experience and the events leading up to their death. These constant switches in tone and time make this plot especially gripping. The writing brings both concision and clarity through a series of unsettling motifs that become clearer as the play continues. Whilst being slowly teased with information, the audience is given ample time to reflect on the complexities of the characters and plot.
Graveyard of the Outcast Dead uses music and excellent storytelling to uphold and neatly insert itself into the folk tradition, evocatively demonstrating the power and potential of historical fiction.
Written by: Kira Mason
Costume Design: Almut Echtler
Costume Supervisor: Kirstine Jenson
Sound and Lighting Design: Lewis Gemmell
Produced by: Reverb Theatre, Not So Nice! and New Celts
Graveyard of the Outcast Dead has completed its run at this year’s EdFringe.
