Review: Lost Watches, Park Theatre

Lost Watches is an offbeat tussle between a sculptor’s wayward son and the talking bust of Beat Poet William Burroughs. Though their absurd kinship is unpredictable and often entertaining, a deeper burrow into family frictions might chisel out a more compelling comedy drama.

A bedraggled silk gown drapes over tortured young artist Allen (Lorenzo Allchurch) who has confined himself to the dusty shed of his late mother’s sculpting studio. A philandering father, absent brother and terminally ill mother have left him reeling in a pitiable state, overseen by the imposing statue of Burroughs (voiced by Jason Isaacs).

Grief is rarely dwelled on as the guardian bust seeks to pull Allen out of his traumatic past, favouring arson over therapy. As a conflicted Allen decides whether or not to commit to his fiery purge, fraught interactions with his family and crush PC Dread (Leah Aspden) push him to breaking point.

Writer and protagonist Allchurch turns in a suitably subversive performance that surprises and intrigues his audience. Character inspiration will have undoubtedly come from the unorthodox poets of the Beat Generation (of which Burroughs is a member) but as Allen Allchurch also embodies an air of Lord Byron harking back to the decadent danger of the Romantic Era.

Allen’s inner maverick requires a daredevil narrative to fully take flight and this is briefly seen in an amusing chase sequence at the play’s climax where he comes alive with mischievous abandon. Elsewhere a plodding plot and a static sidekick statue dim his flair to a weaker flame in scenes where he is merely reminiscing or stagnating like “growing algae”.

PC Dread is a welcome interruption to Allen’s reclusive world as she lays down the law with a beady (and occasionally flirty) eye. Aspden ably straddles Good and Bad Cop whilst she interviews her suspected arsonist, voicing our collective surprise at Allen’s lack of concern towards his criminal charges. Her no-nonsense Lancashire wit offers contrast to Allen’s irreverence as his request for his interviewer’s phone number is met with “999 is fine”.

Aspden also impresses in a stint as the body for William Burroughs’ floating head as he is momentarily swept off his podium. It is a striking image to behold as the huge pensive countenance slips onto an agile but much smaller body, making it the most effective use of an otherwise limited role.

Unfortunately, Gabriella Moran is also limited in her dramatic scope as she is handed the characters of Allen’s brother, mother and father. The three roles are not distinct enough to make impact and deeper connection between Allen and either parent is compromised. Perhaps the elusive father with addresses from “Amersham to Amalfi” could be left offstage and the relationship with Allen’s mother (Moran’s strongest interpretation) could be further unpacked.

The play has potential for continued sculpting in either a comedic or dramatic direction. Balancing the blend of these genres may smooth the rougher edges for a slicker, more stylish production, but Lost Watches is a bold debut for Allchurch nonetheless.

Written by Lorenzo Allchurch
Directed by Alex Helfrecht
Produced by Betty Media
Costume Design by Trynity Silk
Lighting Design by Nell Golledge
Sound Design by Dominic Brennan
Video Design by Ryan Watson
Movement Direction by Kirsty McFarland

Lost Watches plays at Park Theatre until Saturday 23 August.