19/08/24
theSpace @ Surgeons’ Hall (Grand Theatre), Edinburgh
Kingston Grammar School’s drama teachers don’t make things easy for themselves. Not for them the tried and tested school favourites; there’s not even a sniff of DNA or A Midsummer Night’s Dream on the agenda, let alone a mention of Oliver! or, dare I say it, Grease. Nope, every other year, they bring their sixth formers to perform at the Fringe – and, based on the two productions I’ve seen, they like to go a bit off-piste.
All power to them for opening their students’ eyes to exciting new voices in modern theatre. In 2022, they gave us Phil Porter’s comic romp, The Ofsted Massacre. This year, they’re back with Tom Fowler’s darker, weirder katzenmusik.
It’s an interesting choice for a private school: a scathing piece of social commentary, excoriating the rich and powerful for not valuing poor people’s lives. The setting is Burnside, a northern industrial town, decimated by the closure of its car plant – and a microcosm of Britain as a whole. It’s a place where a historical mining accident is commemorated with a statue to the cat that survived rather than a memorial to the seventeen men who were killed. So, when local resident Jackie Williams dies in her freezing, mould-infested flat, it makes a kind of warped sense for a group of outraged citizens to hit their dodgy landlords where it hurts – by killing their pampered pets. Of course, the media doesn’t see it that way, and soon the town is a byword for senseless animal cruelty, its inhabitants shunned and vilified.
Director Meg Christmas does a sterling job marshalling her troupe, and the players perform with gusto as well as skill. This is very much an ensemble piece, so it’s hard to single out individuals, but Jasmine Proctor-Tarabanov is compelling as the protest’s reluctant figurehead, Jamie, while Grace Dormer convinces as the vulnerable Maureen. Hats off to Charlotte Routledge too, for her impressive accent work.
Despite the heavy themes, there is humour here, most notably when groups of minor characters move in unison, delivering their lines in well-judged comic tones. The large cast utilise the space well, with smooth transitions and efficient use of props. I especially like the way that more and more bloodied cats are added to the stage, slowly ramping up the horror of what’s unfolding.
This is a complex play but the young actors have clearly worked hard to explore its every nuance, so that the production is emotionally engaging as well as provocative. I can’t wait to see what KGS come up with in 2026.
4 stars
Susan Singfield
Bouquets & Brickbats 