Writer: Andrew Mapperley
Director: Elisabetha Gruener
The grand Warbler estate has been an enviable asset for generations, the tight knit family proud of their reputation and social standing. Even now, during the longstanding aftermath of a devastating apocalypse, the family band together, keeping calm and carrying on, trying to uphold tradition while they await the mysterious, hopeful arrival of their Cousin Fandango. While the premise sounds promising, the execution of Mouthful of Fingers is a discombobulated dichotomy with bizarre plot holes, strange character choices and an unsatisfying conclusion.
Writer Andrew Mapperley drops the audience right into the heart of the Warbler family home, with the first few scenes showcasing the family interactions, but the timeline is unclear – with language and clothing pointing towards the Victorian Era, but Skittles are their chosen treat to hand out to guests, marking the beginning of a show full of confusing contradictions. With little character development, the audience struggle to get on-board with the dynamics, making the web of stories tangled and unclear.
Mapperley plays head of household Paste, main caregiver to grandfather Gunthorpe (Joseph Wood). Gunthorpe has little awareness left of his surroundings, occasionally alive with a flash of remembrance that thrills the family. But, while he may not quite remember Slip’s (Giulia Hallworth) fiancé Volvo (Rens Tesink), his reaction to him is strong and unpleasant, with frequent stress nosebleeds occurring whenever he visits. Foster (Kat Stidson) is obsessed with Cousin Fandango, holding on to the past with a thread, frequently retreating into an imaginary world as a source of comfort. When mysterious stranger Sam (Caitlin Lee Smith) arrives from a strange Cockroach ridden world of stars and sorcery, the family’s world is turned upside down, with secrets revealed and relationships ruined forever.
It seems that Mapperley and director Elisabetha Gruener try so hard to be everything, that the play winds up to be about a whole lot of nothing. Multiple story arcs are alluded to; an on-going illicit affair, a fake marriage, domestic violence, mental illness, abuse of power – all briefly mentioned with badly done Eastenders style shock reveals, then brushed aside as if nothing has happened. These sprinkles of drama should be crafted properly and skilfully to ensure that the message they are hoping to relay about truth, perception and justice could land better with the audience. Not to mention, the infuriating amount of times Cousin Fandango is referenced throughout the play (he’s namedropped at least 50 times throughout the hour-long show – minimum), you would assume that the plot would focus on him slightly more, but instead he’s another story arc that seems to fizzle out along the way, then rushed to a conclusion so they can move on to the next unnecessary narrative reveal instead.
The plot is convoluted yet empty, at times so poorly done that you’ll have to check it isn’t supposed to be a comedy of errors. You may even begin to wonder whether the radiation encompassing the Warbler estate has affected you too after trying to figure out what on earth is going on.
Runs until 12 November 2022
1 Comment
I think I saw a different play. I was not left confused at all about what was going on. This was a fresh look at a classic plot where the past caches up with the future and causes chaos in a very short space of time when secrets are revealed. I think talk of radiation, everything being burnt out, black, dead out there and having to have a shower when entering a house left me in no doubt this is set in the future after a nuclear holocaust. The costumes and set are symbolic not literal with a touch of steam punk. White ragged dresses and shirts give an air of ghosts floating round the stage. Gunthorpe alone is in black, hooded and menacing. The language I’d say is a bit colourful for Victorian times. I did not think I was in the Victorian era at any point. The Skittles are a stark contrast in the set as they are commercial bright red, cheerful, and lacking in any nutritional value but we all know the taste and certainly would certainly be a cheeky something taken to a bunker store as a post apocalyptic treat. It is a symbol of normality and a treasure to offer to a much wanted guest. Cousin Fandago is mentioned a lot because he represents desperate hope and a past that doesn’t exist. I didn’t count how many times he was mentioned but it did not annoy me. I actually found the plot and relationships quite straight forward and not at all convoluted. I think a young girl going out of her mind and unable to see reality and a man walking out to his death is not brushing aside anything. This is an allegory not East Enders and I thought it was a delightful debut production from this young company. An Inspector Calls flavoured with Tim Burton, beautifully styled and a fresh presentation.