“The finest production I’ve seen this year”
Death and grief are difficult topics to get right in the theatre – even more so for a young company who are not likely to have experienced much of either. Lloyd Theatre Arts (most of whom are aged 14-17), however, demonstrate maturity and sensitivity well beyond their years in this powerful life lesson.
In January 2014, 16-year-old- Daniel Spargo-Mabbs died as a result of a drug overdose at an illegal rave. I Love You Mum… I Promise I Won’t Die is a verbatim response to that tragedy, using only the words of his friends and family to tell the story of what happened. Mark Wheeller’s script, which interweaves responses from those close to Daniel, is a galling and frank account of his final few days and their immediate aftermath. Grab the tissues.
What’s most moving about this show is the painful honesty of it: the script contains all the teenage awkwardness you would expect from verbatim responses, and to their credit, the company capture this in the integrity of their performance. Some perspectives indicate a knowledge of what happened that night, some a blissful naivety, and not everyone is shown in a positive light, making it an insightful and thorough, unglossed story.
The action is also interspersed with choreographic sequences to reflect or highlight specific feelings that words alone can’t convey. Counter-balance and counter-tension are common motifs to demonstrate how much the individuals in the story relied on each other to get through the days, and these are intelligent and polished moments which show a fantastic creative engagement with the piece, as well as an emotional one. Indeed, the slickness, energy and connection throughout this performance from the whole company are indicative of hours of hard work and dedication to their craft, and the result is absolutely astonishing.
The second half of this production (which focuses more on the perspective of his family and girlfriend covering the same events) does drag somewhat, as there is little in the way of new narrative content, making it feel quite repetitive and static. Further editing to combine the two halves would help make this a more cohesive and gripping piece, but even in this state, it’s the finest production I’ve seen so far this year.
The performance quality of this production from both the young people, and the actors playing Daniel’s parents, really is first class – I genuinely thought I was watching Daniel’s friends and family tell this emotive and important story themselves. Take your children. Take your parents. And take care of yourselves.
Reviewer: Steve Griffin (Seen 21 August)