Good With People
Oran Mor, Glasgow
Nov 4 – 9, 2019
500 plays is no mean feat, and every week the Oran Mor seems to improve on everything that has come before. David Harrower’s effort today was a play called Good with People, a calm yet dangerous take on things that seem to sneak up on us. The set looked inviting, offering a green floral wall paper with a reception desk, a door and a bookcase with a painting in the middle, signifying a hotel reception.
The weary and injured Evan, (Daniel Cahill) had come home to Helensburgh. He found himself at the Seaview Hotel arguing with the receptionist Helen (Louise Ludgate). He was not happy with the hotel service thus far as she had refused him entry until officially opening the hotel and bar at 12 o’clock midday. From Helen’s point of view, she’d come across a problematic customer though with every conversation they had she felt more and more curious and even compelling about him.
As each of these dialogues happened the stage would go from black to total light which brought the points being made across all the more assuredly. They almost fell into total chaos on more than one occasion which also held a light to the frustrations which were arising. After these story telling sessions Fastlane was mentioned; the nuclear defence programme, that was also a popular resort destination. But by this time Evan was irate about revisiting the past horrors he had encountered there and in reality really not wanting to return to it.
There was no going slowly for either of these characters, no time for contemplation or even serious concern aloud but instead a despair. Yet even as the whole world tussled they came to quite some endearing agreements as he flashed himself upon her drawing out of her the information he would need to know for the whole play.
This play was a topsy turvy encounter between two voices and humble physical appearance looking into facing things though they may remain too large to really contemplate. Fastlane is a controversial institute in Scotland and is the cause of many a protest. The protest reflected in the play asking us to question things to a far larger degree, because things can look bleak.
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