Directed by Beatrice Updegraff & Arianne Sadie Brooks
Produced by Catherine Butler
Choreographed by Jessica Barber
12th-15th March
Whilst wandering down the back streets of Digbeth at night, you couldn’t help but feel a sense of excitement and curiosity as to where the evening would take you. The decision, by directors Beatrice Updegraff and Arianne Sadie Brooks, to set this 3BUGS play in a warehouse at Minerva Works an excellent one. Once inside the intimate performance space, you were greeted by upbeat party playlist and a warm welcome, wonderfully creating a false sense of security before the dark events of Philip Ridley’s play would begin to take place and drastically alter the atmosphere.
The lovely set was small and simple, yet perfect for this edgy piece of theatre, and what was most appealing about it was the fact it was outside of the Guild, as being in the new surroundings placed the audience outside of their comfort zone, something very much in fitting with the play itself. To those of us who knew of Ridley’s work before hand, his shocking work can often lose its effect, however, this was not the case with ‘The Fastest Clock in the Universe’, as from the moment the lights dimmed down you felt on edge. The slow burn and pace at the beginning allowed the audience to relax momentarily, before the action kicked off and you became utterly engaged.
Huge commendations must be given to each member of the small cast, as not only are these twisted characters difficult to play convincingly, but choreographer Jess Barber introduced in several moments of high paced and energetic physical theatre, that were performed flawlessly and added a fantastic modern twist to the play.
Joel Heritage was horribly alluring as the quiet yet menacing anti-protagonist Cougar Glass, while Will Jackson brought lovely warmth and humour into their scenes with his portrayal of the abused Captain Tock. Maya Whatton, as the disgustingly decrepit Cheetah Bee, was absolutely captivating each second she was on stage. The odd couple, Foxtrot Darling (Jack Alexander) and Sherbet Gravel (Alice Hodgson) caused moments of great concern for the audience, as we prayed for their safety. Jack Alexander was endearing as the hopeless and easily led school boy, whilst Alice Hodgson’s aggressive and confident take on Sherbet didn’t detract from the vulnerable side to this character.
Confliction was perfectly created within the audience, as each flawed character attempted to gain our sympathy and support, despite often turning us against them with their awful behaviour. During the final heightened moments of the play, the shocking and disastrous consequences of Cougar’s party almost seem forgotten as things resume as normal, as the audience is gently eased back into a comforting scene, almost suggesting the cycle will once again be repeated.
The production as a whole was fantastic, and executed with such profession, from both cast and crew, it’s a shame it’s only running for a few nights. If anything can be said it’s that I wished there were more moments of physical theatre, the ones already within the play were excellent and brought so much more to this punchy and edgy play, if this element had been utilised further it could easily attract audiences much further than the student population of Birmingham.
