Under Belly – Iron Belly
Aug 12–13, 15–27

Remis Velisque

There was nothing normal about the start of this great play titled ’24, 23, 22 at the Edinburgh fringe’s venue Iron Belly, Cow gate. Situated in the underneath part of the bustling centre the room was black and seemed sparse though its lighting covered the ceiling. The mysterious title had me intrigued so I picked what would turn out to be a riveting hour in the hand of two actors and a DJ on a laptop.

Energy levels were present from the moment you walked through the door where the charming duo enthusiastically greeted us with touching momentum. Ruth Page (Fran) and Joe Matty (Brendan) hurled themselves into a frantic dialogue where the ever spinning Brendan flew into a story of catastrophe for him in fact he was taking us through the very final day of his life.

He was terrified, confused and uncertain but he bellowed his thoughts with a fast diction, rapping to the laptop beats behind him and making movement at speed that gave proceedings a touch of action. And that action was the protagonist as the shared dialogue was revelled in by these actors who thus far seemed to have no connection.

Fran’s world was also pivoted upside down though her part offered a calamity of normality or what it is for people performing in the world today. Though the pace was often extreme care was taken in this diction so following the words and plots was easy and enjoyable.

Both Ruth and Joe are young yet their success in theatre is commendable as they have created ways to make sure their personal interests in theatre and beyond are being used to pave a remarkable journey for both.

Their collaboration for 24, 23, 22 has proved to be a project that has caught the attention of British theatre and they have brought it to this year’s Fringe. Their passion steamed forth with obvious utter dedication to a very impressive level able to really get to the core of character, conversation and frustration.

Especially for Ruth’s who’s suffered a world falling apart! The balance of respective situations began separated then to bubble and merge together making my thought contemplate a steady stream of perplexity even as if I was taken aback by the outstanding performance.

With all the aims flying around it came to a kind of completion of everything theatrical cut into shape by dynamics that roared in a very human, tactful, no holds barred and unafraid pleasure in cutting a hold of us with an extra sense of wonder. This streamed through very capably. This was a great play, meshing sadness with control and certain sudden senses of the fear of life falling apart in its realties.

Daniel Donnelly