Could Do Better

I had time to see two plays on the Edinburgh Fringe: a one man play based on the diaries of painter Keith Vaughan and Joe Orton's The Erpingham Camp. Both held my attention - which is an achievement for the Fringe - but neither was worthy of recommendation.

Locked In, written and acted by Peter Scott-Presland and directed by the unfortunately named Randy Smartnick, presented various episodes from Vaughan's life from 1939 to 1977. We saw him helping the victims of an air-raid, appearing before a conscientious objector tribunal, had up in court for making a drawing that might be used to help the enemy, on various (homo)sexual adventures abroad, diagnosed with liver cancer and killing himself with an overdose. Anyone of these themes could have been explored in depth, instead of the superficial picture that was drawn for us, offering no more than frustrating glimpses into a complicated and unhappy life.

What was the impact on this pacifist of being in the Army Medical Corps? Scott-Presland did not tell us. Presumably his sexual adventures started before his 40th year, and if they didn't, why not? Was only fulfilled abroad and with teenagers? What was the relationship between his sexual activity with others and his unusual masturbation patterns? Can't answer any of these questions. How long was he an alcoholic? Haven't a clue. How did the various aspects of his personality come together? Your guess is as good as mine. Would I have known he was an artist apart from the artfully-arrange flecks of paint on the tablecloth?  Probably not - not once in the script was there any reference to his wielding a paintbrush.

If the script was mediocre, so too was the acting and direction. Scott-Presland's performance was in a single key, more appropriate to a reading of the diaries than the representation of a life. Nor was he helped by the music that frequently intruded - music that was more interesting than the acting and held the attention for as long as it was played. Meanwhile at the side of the stage we were offered a slide show of Vaughan's paintings only tangentially related to the script.

Moving on.... The Erpingham Camp is one of Orton's lesser-known pieces and for good reason. Despite the revolt of its holiday campers, the play's marriage of the ordinary and the absurd in a 1960s holiday camp never reach the dizzy heights of Loot or What the Butler Saw. The play is not helped by Fourth Monkey Theatre Company's curate's egg of a production where a motley crew - some more talented and appropriately cast than others - rush through their paces. Worst were Erpingham (I can't find the actors' names, but he's not the man in the picture) and the Padre; the former shouting every line in a monotone while the latter mugged his part throughout with a stupid grin that belied the gravitas that the role demands. Best was Riley, although even he sometimes overdid the mugging   I could also complain about small details of dress and props that brought 2012 into what was supposed to be a 1960s production - including hairstyles and designer stubble. As a student production it passed muster - which is about the right level for the Fringe.

Now I'm on my way back to London and with my new agent - of whom more details anon - hoping to get back on stage and in front of the camera soon. At that point I will have to submit to equally aggressive reviewing. Well, I should know not to give it if I can't take it....