Review of Beginning at the Barn Theatre in Welwyn Garden City.
The Barn Theatre never fails to engage, and this week’s production of Beginning by David Eldridge proves no exception.
It was first performed at The National before transferring to the West End in 2017. Admittedly there has been a break, but it has now reached the Garden City, and the capable hands of Paul Morton, for his directorial Barn debut.
A thought-provoking and sad, but humorously engaging, play, it is set in the Corbyn era.
The party’s over, it’s time to… what?
The play opens with two people, Laura, superbly performed by Jessica Drucker, and Danny, played by an equally matched co-star Pete Bryans.
It is the early hours of the morning after Laura’s flat warming party in Crouch End. She’s clearly attracted to her last remaining guest, who came as a ‘plus one’ with Keith, a work associate of hers.
They have never met before so the conversation is a bit limited to what they know they have in common: Keith and the party buffet. Danny, who has ‘no radar’, is a bit slow to realise that Laura fancies him.
As time passes, they open up. Danny, more willing to share his feelings, has a failed marriage and a three-year-old daughter he doesn’t see. He hurts.
He’s living in Essex with his mum… "sitting there with your mum and nan on a Monday night after work and you’ve got nothing to say to each other".
Beginning runs at the Barn Theatre until Saturday, March 30, with a matinee at 2.30pm on March 30, and evening performances at 8pm.
Tickets cost £15, from Barn Theatre box office on 01707 324300, or online at www.barntheatre.co.uk
Laura likes the sound of his nan particularly who, at 91, is quite likely to plaster his weekend activities on Facebook.
She’s not so forthcoming. Clearly financially astute, as a managing director having just bought a flat in Crouch End. It transpires she has no living relatives and one failed long-term relationship.
Does she want Danny for a one night/weekend stand at the end of her party, or is she looking for more?
The conversation goes in waves that never quite break at the same time. Danny is certainly drawn to Laura, but is wary about involvement (he can’t see sex without involvement) and being badly hurt again.
It’s not looking good — especially when he asks for the bins bags to do a post-party clear up.
Pregnant pauses are covered with conversations about party food and soiled bedding, and the Facebook posted by Keith, who’d filmed Laura’s colleague throwing up on her bed.
Hunger fills another gap and fish finger sandwiches come to the rescue, along with just one more glass of Chablis. (Who takes a bottle of Chablis to a party?)
The theme of this beautifully performed production is loneliness, sadly enduring, despite the rise of internet dating.
Imbued as it is, though, with Eldridge’s knowing humour, you’ll laugh and cry in equal measure.
As usual, with the Barn, production values are high, so it’s no fault of the sound department that Danny wouldn’t dance!
And the realistic cooking of the fish fingers may have you rummaging through your freezer to see if you have any left for a post-theatre snack.
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