There are some things that you just cannot attach a rating onto because what you see before you is worth more than a few stars or an out of 10 score in the collective conscious of all that took part.
The sheer hard work that goes into bringing the assortment of pieces with a particular theme together, the behind the scenes work that goes on, especially when its young performers, technicians, and the staff of an exceptionally hard working theatre are there to show just how the young, the fledgling artists of a city, are preparing for a month of anguish, fun, hard times, possible torment, artistic suffering and the wonderful feeling of utter achievement at the end of a month at The Edinburgh Festival, or just even to give an inside view on why their work begs attention. Some things just cannot be valued but you can feel the immense pride welling up inside of you as you watch each carefully selected segment, the brief encounter on the boards take place.
Scene Change showcases the best of Liverpool’s creative talent and being hosted inside the new Everyman Theatre is fitting. In a city, certainly the people at its core do, that values its creative heart, The Everyman Theatre offers this kaleidoscope of artistic endowment a place in which to give more than fair representation to the young of the city. Even just sitting in the seats of The Everyman Theatre and watching this diverse, eclectic and yet ultimately generous set of actors, comedians, artists set their ambition out before you is enough to make you feel not just pride, something far more precious, hope; a hope for the future that is beyond the avarice, beyond the tainted spectre of disillusionment and just gets people nearer to supporting live art in all its forms rather sitting in front of a television with a mobile phone number in hand and a Twitter feed to fill with envy and hate when their chosen star doesn’t make it.
With five separate acts going through their paces at The Everyman, it felt like those in the audience were being treated, not just to a handful of free sweets in the candy store but being handed the key to the outer door of Cadbury’s and a map of the entire chocolate facility.
With two short but incredibly good plays being performed first, Michael Rumney’s beautifully set Inference, which was directed by Sarah Van Parys* and starred the rather cool Sean Patrick Croke and Claire Crossland and the absolute knock out The Undesirable Man by writer Dave Griffiths which had the tremendous Jay Podmore and Mick Ledwich both give hilarious performances under the guidance and direction of Shiny New Theatre’s Peter Mitchelson. Both these plays you cannot help but want more of, it is not greedy to require more of a very, very good thing.
Recent Liverpool John Moores University graduate Niamh McGee** then had a question/answer talk about some of her rather fabulous art, of which several were on display in the theatre space and even if modern graphic art wasn’t your thing before, to see these pieces on display certainly caught the eye. Not only fresh and striking but there was a boldness to them that comes from those unafraid to take risks.
Stand-Up Comedy was provided by Rachel Slater*3 who was unlike any comic many in the audience would have come across before. Her dry, downbeat humour, perpetually dejected, hides a streak of delicious gold to it and was greeted by all as crisp, bright and novel. A real find!
*4 For those in the audience that hadn’t seen the utterly compelling Play With Myself: The Trials and Tribulations of Drama Practitioner Gregory Bike preview at 81 Renshaw Street, the evening closed with one of those rare luxuries in life. For those who had seen Liam Hale’s truly outstanding show it was a chance to revel for a brief while all over again into the mind of a man who encapsulates the spirit of a young Rowan Atkinson. With just the first part of the performance on offer, the laughter was surely heard from one end of Hope Street to the other and Edinburgh audiences are in for a great time. In one of those exceptional moments of theatre to see the indefatigable and charming Rio Matchett give-in to the absurdity provided by her fellow cast members Liam Hale, Dominic Davies, David Peas and Sean Stokes was just the tonic needed to break the tension before they all go north of the border.
Somethings are beyond rating as the moment of time on offer does not require one, what can be said should be said and that is all. The youth, the younger members of the all-encompassing Liverpool artistic society know they are good enough to shine, they are unfaltering in their belief and should be congratulated for being so, especially when faced by a the hardest of times and almost despicable actions by those entrusted with their future. Scene Change is a work of art in itself.
If you would like to perform your work at Scene Change please email YEPproducers@everymanplayhouse.com for more information.
*Sarah Van Parys, a Young Director at the Everyman and Playhouse theatres and Artistic Director of Falling Doors Theatre, will be directing The Road to Skibbereen at the Edinburgh Fringe at C Venues, Adams House on Chamber Street between 10th and 15th August.
**Niamh McGee’s artwork, under the banner of Perfectly Interrupted, is on sale and Niamh can be contacted at hello@niamhrosemcgee.com.
*3 Rachel Slater is performing at the Edinburgh Fringe in Double Booked: Slater V Melons at the Voodoo Rooms from the 2nd to the 24th August.
*4Play With Myself: The Trials and Tribulations of Drama Practitioner Gregory Bike is on at The Dragon Fly at 14.00 from the 2nd to the 24th August.
Ian D. Hall