Writer: Richard Bean
Director: Mark Babych
There’s been a certain buzz among Hull’s theatrical circles surrounding their theatre’s 50th anniversary celebrations. This comic new play written by local lad and international playwright Richard Bean, is set in a house-come-rehearsal room just off ‘Essle Rerd’ and it really doesn’t get more ‘Ull than that ! This patchy but cleverly written offering is very Bean, very Truck.
Hull Truck was formed as an experimental theatre company in 1971. Believing that theatre could change the world, Mike Bradwell moved to Hull because of the cheap rent and because he believed that theatre in Hull needed a shake up. An interesting spin and the natural choice for this play and indeed for truck would have been to invite Bradwell to direct given that this marks a historical event for the city. But, alas, it is left in the hands of Trucks creative director, Mark Babych.
In a freezing cold house on Coltman Street, a motley crew of unemployed actors gather to improvise a play with no name, no plot, no budget and no bookings.
There are laughs-a-plenty in Bean’s appealing new play. It verges on the ridiculous and, at times, is both brilliant and bonkers. As risky and provocative as this playful and frivolous offering is, unfortunately, it is also riddled with missed opportunity and too many directorial flaws forbid some of the comedy to land. The writing is both glorious and appealing as each colourful character graces the stage trying to unpick the work of a lazy director. Bradwell wanted to make theatre anarchic, freer, experimental. He was there in its creation, he made the theatre organic and one is confused as to why he wasn’t involved in the making of this particular show.
Pace and momentum are somewhat lacking in Babych’s production because of this the staging and many of the play’s characters become two-dimensional. There are stand-out performances however, notably Joanna Holden’s perfectly pitched Mrs Snowball and Jordan Metcalfe’s excellent Julian.
Ultimately the work is born out of the city of Hull FOR the city of Hull and because of the nature of the piece only a true Hullian can fully access it. Again, Truck fails to employ Hull actors (of which there a plenty) to play the roles in what is essentially a community piece. This is disappointing especially given that the tale centres around Hull’s theatrical past.
Act two opens with a wonderfully kitsch-style cabaret set in Hull’s Blind Institute but reminiscent of a traditional back-street working man’s club. Again, it is not long before it soon falls flat and shies away from the alternative and necessary full-frontal comedy needed and as the writing suggests. The script is crying out for a more-is-more approach and Babych seems afraid to take it too far, leaving the audience unsure of what this play is trying to achieve.
The production, despite its flaws, is a fitting tribute to Hull’s 50th year and, although at times it is void of any real sense of playfulness, this uneven yet experimental and extremely funny new play will make you chuckle like a good ‘un.
Runs until 12th March 2022
