February 28, 2007
Another piece of superb theatre at the Burton Taylor: an absolute delight! This clever piece of writing examines the effects of The Depression on adults and teenagers in a backwoods American town. The central characters, Dalton and Pace seek to enliven their otherwise mundane existence by planning a game of chicken with a train across the eponymous trestle. Superbly played with great feeling by Arden Moscati and Nadira Wallace respectively, the teenage pair examine hopes, feelings and their burgeoning sexuality, with the train as a metaphor for the unstoppable nature of events that surround them.
Dalton’s parents, played superbly by Megan Robb and Alex Bowles, face their own demons: mother desperately trying to keep the home together in the face of her husband’s deepening depression at his lack of work and self-worth. The final role, the initially sardonic jailer Chas, was another excellently realised piece of acting by Will Robertson; bringing humour, humanity and an acceptance of fate to the play.
The Faulkneresque qualities of this play are impossible to ignore, and the descent from wry humour to darkness is well paced and wholly believable. Excellently directed by Sam Pritchard, and with an effective and sympathetic set and lighting (Salmaan Mirza and Catherine Cleary), the talented cast bring strongly drawn characters to life with real tension and emotion. Central to the success of the play is the developing relationship between the naïve Dalton and the, frankly, odd Pace. The dullness and lack of hope in their existence is made plain in the increasingly desperate nature of their interaction. Arden Moscati creates a thoroughly believable picture of a confused teenager: angry, needy and desperate to be seen as grown up. By turns flirtatious, threatening and reflective Nadira Wallace shines brightest, in an excellent cast, as Pace. Her stage presence is remarkably mature and she should continue to seek out parts that stretch her skills.
This is a brilliantly performed production of a fascinating play, and one that deserves to be seen by full houses. I would urge anyone reading this to go and see it – it’s an hour and a half that flies by.
Dalton’s parents, played superbly by Megan Robb and Alex Bowles, face their own demons: mother desperately trying to keep the home together in the face of her husband’s deepening depression at his lack of work and self-worth. The final role, the initially sardonic jailer Chas, was another excellently realised piece of acting by Will Robertson; bringing humour, humanity and an acceptance of fate to the play.
The Faulkneresque qualities of this play are impossible to ignore, and the descent from wry humour to darkness is well paced and wholly believable. Excellently directed by Sam Pritchard, and with an effective and sympathetic set and lighting (Salmaan Mirza and Catherine Cleary), the talented cast bring strongly drawn characters to life with real tension and emotion. Central to the success of the play is the developing relationship between the naïve Dalton and the, frankly, odd Pace. The dullness and lack of hope in their existence is made plain in the increasingly desperate nature of their interaction. Arden Moscati creates a thoroughly believable picture of a confused teenager: angry, needy and desperate to be seen as grown up. By turns flirtatious, threatening and reflective Nadira Wallace shines brightest, in an excellent cast, as Pace. Her stage presence is remarkably mature and she should continue to seek out parts that stretch her skills.
This is a brilliantly performed production of a fascinating play, and one that deserves to be seen by full houses. I would urge anyone reading this to go and see it – it’s an hour and a half that flies by.