Tilly Botsford

She Can’t Half Talk



Bedlam Theatre, Edinburgh

It’s Hallowe’en, but we’ve already done the spooky stuff. We carved our Jack O’Lantern days ago (the pumpkin soup is just a memory now), and we saw Dracula at the King’s last night. So tonight we eschew the Cameo’s Rocky Horror costume party, and head instead to Bedlam, where a series of monologues awaits.

Writer/director Sally MacAlister might still be a student (she’s in her third year here at Edinburgh), but her scripts are lively and assured. They’re original and sprightly, funny and sad. We’re impressed: this young playwright clearly has a bright future ahead.

The play comprises five unlinked twenty-minute monologues: there’s a foetus gleaning all she can about her mother and the outside world; a sex worker contemplating her future; a drag queen facing Christmas without his children; a tough kid refusing to accept her ‘victim’ label; a middle-aged woman raging against her dwindling sex appeal. They’re varied pieces, both in content and tone, and we’re intrigued by every one.

The Foetus is the quirkiest piece, a whimsical idea played with charm and vivacity by Julia Weingartner, and The Drag Queen (Myles Westman) the saddest, a tale of hidden truths, infused with gentle melancholy. The Camera Girl is outrageous and funny, with Megan Lambie’s bold, engaging performance really drawing out the laughs. There’s some interesting direction in this piece too: I like the use of Liam Bradbury as the banker, mirroring the girl’s movements as she tells the story of their disastrous date.

Perhaps the least credible is The Cougar: Kelechi Hafstad can clearly act and conveys the character’s emotions well, but she’s much too young for the part, and the writing here is less convincing too: I don’t think a fifty-eight year old would describe herself as ‘elderly’ nor compare herself to Helen Mirren (who’s fifteen years older, at seventy-three). Still, there are some lovely ideas in the script, and the delivery is witty.

My favourite is The Victim, a raw account of a teenage girl drawn into a cycle of rape and abuse. Tilly Botsford’s performance is mesmerising, and she really knows how to work a pause (the silence after the innocuous line, ‘She fell off a horse’ is the most powerful moment of the night).

All in all, She Can’t Half Talk is an impressive piece, and Sally MacAlister is clearly a name to watch out for.

Take a blanket and a hot drink though. Bedlam Theatre is really cold.

4.3 stars

Susan Singfield


Tom at the Farm


Bedlam Theatre, Edinburgh

File this one under ‘suffering for your art.’ We’re at Edinburgh’s Bedlam Theatre on what must be one of the coldest nights of the year and, up on stage, young actor Yann Davies, who plays the eponymous Tom in Michel Marc Bouchard’s play, is stripped down to his underwear and gamely trying to convince us that he’s in a nice warm bedroom. It’s testament to his acting skills that he pretty much succeeds, even though we’re feeling distinctly nippy in heavy coats and woolly hats.

In this tightly-scripted four-hander, advertising executive Tom drives out to a remote farm somewhere in the backwoods of Canada to visit the family of his recently dead lover, Paul. When he arrives, he’s dismayed to find that Paul’s grieving mother, Agatha (Tilly Botsford), has no knowledge of Tom – indeed, she is under the impression that Paul was dating a French girl called Natalie. Tom also discovers that Paul has a brother, the glowering and rather intimidating Francis (Peter Morrison), who quickly impresses on Tom the necessity to maintain the deception and to tell Agatha exactly what she needs to hear. Tom soon finds himself being absorbed into the day-to-day running of the farm and it begins to look as though he might never return to his old life in the city…

EUTC’s production powers assuredly along, anchored by fine performances from the cast (particularly from Davies, who manages to convey so much through his expressions and gestures). There’s a slightly unconvincing strand towards the final third, with the arrival of Sara (Kathryn Salmond, last seen rocking an inspired Fagin opposite Davies in EUSOG’s Oliver!), who has been hired by Tom to impersonate Paul’s fictional French girlfriend, Natalie. To be fair, Salmond plays it really well, but the raucous humour seems somehow out of place in what has, up to this point, been a pretty tense and straight-faced tale. However,  the story soon recovers and heads towards a convincing climax. This is a student production, but everything here is done with great assurance – the set design, the lighting and the sound are all nicely handled and Joe Christie’s direction coaxes the best out of a talented young cast.

Go and see this while you still can – but, if the cold snap continues, take my advice and make sure you wrap up warm.

4 stars

Philip Caveney