Writer: Jonathan Walfisz
Director: Molly Marsh
Sometimes when young companies ask for their new shows to be reviewed early on in their short runs, what they could really benefit from instead are notes taken by someone sitting in the back row. In the case of Road To Nowhere, about a road trip to France, most of the problems could be resolved quite quickly.
The stage at the Bread and Roses is tiny, especially when it’s positioned at one end of the narrow room. Having all five (and then six) actors on stage running around filming a Zombie movie only results in chaos with characters pushing their way to the front. Scenes would be more effective if there were fewer people on stage. The only time it does work having five actors on stage is when they finally board their campervan. Here, keeping still and close together, they are seen by all the audience.
Apart from this scene, most of the sightlines are terrible. Only the front row can see the actors when they slump into the low chairs at the front of the stage, and one visual joke, when they get on their knees to pray, is completely ruined, because again only those in the front row can see the icon to whom they offer up their supplications. And another vital scene is played with the two main characters, Josh and Violet, sat on the edge of the stage meaning that for most of the audience Road To Nowhere briefly becomes a radio play. It’s strange that these sightlines weren’t checked in dress rehearsals.
The Bread and Rose stage can be refigured as to stand in the middle of the room, like last week’s successful Disc Jockey. In this configuration, the audience is much closer to the stage and the sightline problem is solved.
Disc Jockey played for a tight 80 minutes, and Road To Nowhere could also be wrapped up more quickly. A few of the scenes could lose some fat, and while the filmed sections are nicely made, especially the opening shots of a black-and-white London, they could be excised completely in order that the show fits into a one act show, no longer than 90 minutes.
On their opening night, obviously nerves were an issue for all of the actors on stage and their deliveries didn’t help the jokes to land smoothly. But as they continued they grew in confidence especially Malak El-Gonemy who plays Tessa, the filmmaker who doesn’t think it’s such a good idea to find their old friend in Paris in the middle of 2020’s lockdown. The play’s writer Jonathan Walfisz also grows in stature as the privileged Josh, as does the play’s director Molly Marsh playing trans film director Violet.
Walfisz’ story is intriguingly unusual and has enough film theory jokes to keep most people happy, but the script is not everything. The audience must be able to see what’s going on. With a few tweaks, a bigger stage, and a few more nights under their belt, Road To Nowhere could a journey we all want to take.
Runs until 9 February 2022
