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A joyful experience from start to finish, this show about a coffee shop worker who dreams of being a pirate shows what can be done when you’re willing to take a risk or two.Summary
Rating
Excellent
There’s a moment in Jacob Newton’s Breast Baring when Anna Francis’ Annabel is having an imaginary sword fight, thrusting and parrying as she dances around the stage. The sense of enjoyment she – the actor as well as the character – seems to be having in that moment is absolutely infectious. It’s a joy that fills this whole show and one that is impossible not to fall in love with.
Annabel is actually a bit of a doormat, but in a lovely way. She certainly isn’t a go getter; unlikely to be setting the world alight anytime soon. So, when fellow coffee shop worker Mary (Alice Wolff-Whitehouse) starts telling her about Anne Bonny, it’s easy to understand how she could become transfixed by this 17th century pirate, who clearly wouldn’t let another co-worker (Nathan Whitebrook) call her ‘fannysmell’, and most certainly wouldn’t hold back in grabbing what she wants most, which is Mary herself. The problem though is that in trying to be more like her pirate hero she loses the essence of what makes her own self lovely in the first place, and certainly what it is that Mary finds so attractive.
It would be easy to think Breast Baring is just another ‘will they won’t they?’ love story, but by its combination of thoughtful writing and a creative team willing to take plenty of risks it becomes so much more. Amongst those risks is a live band: not so unusual perhaps, except where else would you see the drummer first appear as a coffee shop customer, beating out a rhythm on the counter? It’s ingenious and a fantastic way to fully immerse the music within the play. As for the later introduction of Anne Bonny herself, well, it’s another risk that pays off handsomely as the show briefly steps over the line into gig theatre territory. And there can be nothing more joyful than gig theatre when it is done well.
Newton’s writing allows ample space for the fun, taking his three coffee shop workers and turning them into the pirates of Mary’s research. As we delve further into Anne Bonny’s story, the trio begin to display traits similar to their pirate counterparts. It’s further aided by questioning the hero-worshipping of a woman who, yes was strong and independent, but did also kill people! Which I think we can agree isn’t usually a nice thing. There’s room for improvement though, especially in a central character who flicks too quickly from timid to in-yer-face; any future rewrite should work on a steadier decline into the madness of trying to emulate her pirate hero.
Lucinda Freeburn and Annabel Lisk’s direction and movement manage to pull even more delight from the script, with their no-fear approach. The simple set of a lone table never moves and yet everything flows smoothly around it under their careful guidance. It’s the coffee shop counter one minute, the deck of a pirate ship in a storm the next. They also allow for the band (Susannah Cann, Loris Scarpa and Sam Lightfoot-Loftus) to be fully part of the play, and not just when acting as customers. Each has their own moment to shine and sport some wonderfully expressive facial impressions.
But ultimately it all comes back to that sense of sheer joy which can be felt from the depths of the stage to the rear of the audience. Breast Baring feels such a collaborative effort from all involved, and it bodes so well for anything else this team have planned for the future. Just continue to take those risks and we’ll all be in for more treats. And maybe next time, more sword fighting please.
Written by: Jacob Newton
Directed by: Lucinda Freeburn
Movement direction by: Annabel Lisk
Sound and Lighting by: Grace Millie
Costume Design by: Romi Lindenberg
Produced by: Dawn Train Theatre
Breast Baring plays at Lion and Unicorn Theatre until 30 September. Further information and bookings can be found here.
