This absorbing and atmospheric trip into the past demonstrates the importance of taking a level-headed approach when managing both serious and peculiar circumstances. Rating
Good
Although events and the news reporting them are inherently neutral, it has always been the case that individuals will either interpret them positively or negatively. This is the case in Goldfish, an engaging drama set during the gold rush of the 1890s, which showcases two men who stubbornly take extreme perspectives on an unusual situation: a purportedly talking fish.
The townsfolk of Sheep Camp face hard times; gold is scarce and poverty is widespread. When a prospector (Charlie Lakin) rescues his daughter from a river, the pair claim a mysterious voice willed them to safety and (not unreasonably) attribute this to a fish. Charismatic Mayor Jefferson ‘Soapy’ Smith (Ben Keenan) seizes this opportunity to rekindle hope for prosperity, especially for his kindly son William (Dougie South), whilst remorseful journalist Tappan Adney (Sam Newman) remains convinced the town should cut its losses. To substantiate the fantastical claim, Smith invites respected scientist Dr Mole (Ingrid Werner) to visit. Whatever the truth, Smith and Adney are determined to sway the townsfolk (Alastair Braidwood, Anthony Evans-Pughe, Gemma Fitzwilliams and Gus Flind-Henry) to their own belief.
Whether something really did or will happen is often less important than whether people choose to believe it. Writer Nina Beck has crafted a thought-provoking story which explores the power and consequences of belief, along with the dangers of people being blinded into overly positive or negative views. True to life, the polar opposite viewpoints of Smith and Adney are relatable and well-balanced, so we can still empathise, even when they use dubious means to do what they feel is right, without fully considering the consequences for the town. The serious ethical debate is balanced with good humour, such as an unfamiliarity with the newfangled telegraph system resulting in confusing messages.
Director Guy McNair-Wilson keeps the cast engaged in a range of movements to maintain energy during scenes, whether struggling against a torrent of water or rotating across stage whilst taking turns to dictate or read telegrams. The dialogue is supplemented with subtle mannerisms which further bring the characters to life; Keenan constantly straightens his tie as a seasoned politician would, whilst Newman passionately gestures during speeches.
All elements of this production are expertly crafted to fully immerse the audience in the period setting. In place of a traditional set full of furniture and props, Rachel Fox’s stage design deploys a rotating screen onto which a range of interior and exterior locations are projected. These atmospheric backgrounds are highly detailed, with peeling paint and faded paintings conveying the sense of a town which has seen better days. Fox’s costume design also adorns the cast in period shirts, waistcoats and dresses, with the quality distinguishing the wealthier townsfolk from those less fortunate.
The emotional mood of scenes is visually enhanced by Fox’s lighting design, which deploys appropriately joyful or cooler-toned colours. Likewise, Simon Slater’s sound design conveys the affection or tension between characters and provides an appropriate background for the locations. There are also enjoyable performances of the folk music of the era by Braidwood on banjo and Evans-Pughe on violin, including for an energetic barn dance; Keenan and Werner impressively utilise the entire stage space to enact Lauren Scott’s complex era-appropriate choreography.
This engaging drama conveys thoughtful consideration of how there is no ‘right’ way to interpret a situation, and how even the most well-meaning intentions can be distorted by a viewpoint that is too optimistic or cynical. Although the drama of Goldfish may be outlandish, it presents an effective case for why taking a balanced consideration may be the best approach.
Written by Nina Beck
Directed by Guy McNair-Wilson
Movement directed by Lauren Scott
Lighting design by Rachel Fox
Set and costume design by Rachel Fox
Music design by Simon Slater
Presented by Yawning Dog Productions Ltd
Goldfish has completed its current run at Bridewell Theatre
