Writer-performer: Tiggy Bayley
Director: Selwyn Hulme-Teague
Another day, another solo show with a minimal set. In this case, there’s just a kid-size chair and a coat-stand. Only wait. From the moment our protagonist Daisy, a reluctant teaching assistant, bounces onto the stage until the moment she leaves, we are hooked. Her storytelling is glorious, and it’s supported by energetic acting-out, which makes all the difference.
Daisy exudes cynicism about the school system, gives us too much information about her sex life and hints at a family bereavement. We discover pretty quickly that, despite the scaled-down chair, this is not a show for children. Her creator and actor, Tiggy Bayley, assumes a savvy audience, and it’s our job to keep up.
The script is exceptionally good. It’s slightly edgy and full of sharp observations that help to make Daisy’s situation relatable. I think this material could have been devised as a stand-up show, but as a play it’s altogether more developed and disciplined, and it really shines as a result. The lines are punchy and economical, as well as being startlingly funny. There’s poignancy too, as Daisy is assigned to support a disadvantaged ten-year-old called Paddy, from a family of Irish Travellers reeling from a tragedy.
The title, Squidge, relates to an imaginary animal that can be given to one of the children with special educational needs, in return for good behaviour. This is the creation of Daisy’s child-unfriendly colleague. The staff room is not where Daisy wants to be, and in a telling inversion, it’s suggested as the true heart of cynicism in the school system.
Meanwhile, we discover that Daisy’s ennui stems from her own grief, which gives her common cause with Paddy. The play shows how simply standing with someone, in an open and non-judgmental way, can make a world of difference to them. When Daisy is obliged to sing along with the children, on the theme of being there for friends, the effect is agonizingly tender.
Ultimately, in a performance with so many strengths, it’s the musicality and rhythm of the chosen words – as written and as delivered – that make this piece superlative. Beat by beat, Tiggy Bayley knows precisely how to tell a story, how to engage an audience, where to start and where to stop. Watch and learn.
Runs until 26 August 2024 Image: Contributed
