Camp Phoenix – Barnsley Civic

Writer: Katie Greenall

Director: Toby Ealden

As the programme says, “this show was created for young audiences aged 9-13”, an age barely represented in the performance at Barnsley Civic. This is a great pity: the show, infectiously feel-good for any age demographic, has much more relevance to that age-group. It is to be hoped that the day time performance the next day hit the target.

Lincoln-based Zest Theatre is profoundly committed to producing theatre that gives young people a voice and in this they carried out 650 conversations with young people, both 9-year-olds and, responding to their concerns, 16-year-olds. From this Katie Greenall formulated a play which, hopefully, answers all those questions that trouble the young.

At some time in the almost immediate future Camp Phoenix is a compulsory camp for 17-year-olds who must undergo tests (from tying knots to a scavenger hunt) which also test their ability to work together. There are two grown-up presences: the tannoy (Gillian Lees), persistently annoying in its precise insistence on rules, though quite fun in its spelling out of the sins of the never-seen Kestrels, and Les the caretaker, unconquerably jovial. Duane Gooden extracts every ounce of humour and compassion from the part and treats us to a lovely rendition of a song about learning to be human.

The young people are mostly students from Barnsley College: the ensemble changes as the tour takes in different locations. Toby Ealden both produces well-drilled responses to Koko Brown’s lively songs and encourages his actors to express their individuality which they do without inhibitions and with no little talent.

Then there is Zia, played by David Carpenter, the only other professional actor. He is the perfect misfit, bolshy but terrified, uncertain of fitting in, but dismissive of the games they play. Carpenter, with his prickly response, his yearning for help and his radiant smile, comes out on top – but you probably guessed!

Against Caitlin Mawhinney’s interlocking poles which suggest a series of tents, but serve a useful purpose (hiding behind, for instance), Gooden plays ringmaster to a jolly evening which ends with actual messages from youngsters, but which generally avoids earnestness in tackling a serious problem, mental health in the young.

Reviewed on 29th February 2024, and touring