Belt Up’s Twenty Minutes to Nine
Enter
the claustrophobic confines of Eleanor’s dressing room and listen to
her reminisce, gossip and chatter. This reclusive character – who is
apparently very old, but puzzlingly played by a fresh-faced young
woman – is thrilled to have company to talk to, so make
sure you come prepared to talk back.
Lucy Farrett
has more anecdotes up her lacy sleeves than there would ever be time
to get through during one performance of the show, meaning that the
actor has the freedom to be genuinely responsive to her audience.
Using this as a starting point, the piece sets out to explore the
limits of audience interaction and character drama.
It’s
an admirable aim, but unfortunately not one that Belt Up can be said
to have achieved with this show. Farrett’s commitment to her
character is impressive and she is natural when it comes to engaging
with audience members, but the show’s sedentary setting is not
conducive to risk-taking interaction. Not all interactive theatre
need be promenade, of course, but there is something about physical
involvement in a piece of work that helps to break down diffidence in
the audience and encourage responsive behaviour. By seeking to engage
audiences in this show using conversation only, Belt Up has set
itself a challenge too great.
