Billy (The Days of Howling)
Play, Pie, Pint
Script: Stagecraft: Performance:
This a strange play. Disconnected, waffling – it is as if we are led in bed with our three actors after they had drank far too much caffeine after ten o clock. They cant get to sleep & they are just thinking aloud – thinking & speaking aloud. None of this is in harmony, however, until the end that is, when finally the three separate soliloqueal strands fuse together in a sweary & shouty finale. Is this the Howl, one asks, or it more the voice crying into the hurricane, when Ginsbergdeclaimed, ‘I saw the best minds of my generation destroyed by madness, starving hysterical naked.’
Billy’s main theme is the chaos that ensues after an adult makes the wrong step in the minefield that is kindergarten playground. In this case, Alice’s mum notices Billy eating & Cheeto — & the rest is history (or for me rather, it should have been left in the historical records.) I wasn’t convinced by this piece at all, although the hour was definitely saved by the spirited acting of Hoary Lyon (admin lady), Rosalind Sydney (Alice’s mum) & the big-boned & bubbly Anthony Strachan (Billy’s dad). Perhaps that is down to translation, not perhaps of the language so much, but more the format conjured by French playwright, Fabien Cloutier.
Before I entered the Oran Mor was in a pretty good mood, but left having something of a personal existential crisis. Perhaps that was the point, I’m not sure, or maybe I am….
Reviewer : Damo Bullen