Writer: Léona McLoughlin
Director: Nicky Allpress
What would you ask if you were given an audience with The Creator? That’s right, God with a capital G, or whatever name you call them by. In Gloria’s Gift? Léona McLoughlin provides one young woman with that opportunity, resulting in a witty and moving dark comedy that sees a sweltering start to Camden Fringe touch on loneliness, misconnection, and faith.
‘You know my name, it’s time to tell you my story’ – pronounces God, or Gloria, as she likes to be known, embodied in this earthly pub theatre stage by the effervescent Erica Tavares-Kouassi. The Islington audience is denied this promise, however, when God herself is rudely interrupted by a ringing phone. Léona McLoughlin as Hope, the rude phone-offender, is a touch too bashful when invited on stage to keep up the ruse that she is merely an audience member, but the light comedy of the situation is handled well enough not to matter. Gloria/God now has to improvise, and with her one-woman show ruined, she bestows upon Hope an opportunity to ask her anything, anything.
The meta set-up of the production gives the play an edge of excitement throughout; the audience is certainly kept on its toes in this intimate space. Adding to this, Tavares-Kouassi as bubbly and bawdy and flawed Gloria, benevolent and omniscient but silly, is a treat to watch on stage. McLoughlin’s dialogue nurtures the on-stage relationship between Gloria and Hope into a sweet stumble through witty exchanges, moving self-development and deftly handled philosophical musings. It’s an effective combination of pacey scripting and no doubt some smooth direction from Nicky Allpress to tie it together.
It’s a poignant parallel that Gloria’s power is actually just a series of well-placed sleight-of-hand illusions. The magic, its simplicity and sweetness, is God’s hopelessness in the face of the mountain of loneliness facing humanity, and yet it’s her attempt on a small level to bring joy and wonder.
It’s mostly effective, but unfortunately, the production is undermined by some miscalculated moments and fumbled dialogue. There’s not enough build-up to more poignant conversations; anecdotes that provide background to Hope’s estranged family, for example, are seemingly plonked in from nowhere, and leave the audience reeling to catch up. Equally, when moving moments do occur, they aren’t allowed to sit for long enough.
Although the subsequent joke elicits laughs from the audience, the swiftness means the production merely hammers home a didactic message without any emotional effect. Giving more time to fill out the dialogue, to let the on-stage action speak for itself rather than direct address, would transform the show into something distinctive.
Despite fumbles, it’s a solid reflection on loneliness, told simply but effectively with enough laughs for an overall enjoyable experience. So, if you’ve ever fancied an audience with the Almighty Herself, Gloria’s Gift? is a good place to start.
Runs until 2 August 2024
Camden Fringe runs until 25 August
