Beyond Cragporth Rock (Bussey Building)
No one is at their best when they’re hungry and hemmed in. For the six sisters trapped in their clifftop cottage, the strain of living in oppressive closeness for ten years has driven them all near to madness.
Hell, of course, is other people, and when the food runs out and there’s no hope of getting more, all semblance of civilisation or family loyalty is stripped away, and desperation erupts into a last, bloody battle between the siblings.
Beyond Cragporth Rock is a production originally developed as part of an MA Physical Theatre course at St Mary’s University where the cast members studied together. Inspired by Doris Lessing’s Memoirs of a Survivor, director Ally Cologna has created a show packed with set-piece clowning, dance and movement that has a great deal of potential, but struggles to present a coherent and sustained narrative.
This is a shame, because the characterisations of the sisters are crisp and clear, with some great performances. Anna Plasberg-Hill is funny and endearing as the youngest sibling, whose plaintive innocence disguises her skill at conning the others out of their fair share of the failing food supplies. There’s also a saucy charm to Valeria Compagnoni’s sister, who frankly admits she has no role within the family other than to sit around, which makes the others feel more purposeful. And bossy big sister Elly Beaman-Brinklow, always trying but failing to join in, has a graceful, taut presence that reflects her dance background.
The problem is partly within the story, in that it’s difficult to represent inertia and entrapment without long pauses and overstretched jokes that inevitably slow down the pace. The show gathers energy as it progresses though, and the performers demonstrate a whole range of entertaining physical theatre skills – including a cleverly executed rendition of a gale blasting through the window that sets everyone’s clothes and hair flying.
The company are all accomplished singers too, and their a capella "Shenandoah" is beautiful enough to beg the question why music isn’t playing a greater part in this production.
The closing scenes also show designer Kate Rigby’s flair as the end draws near for the family in a spectacular transformation scene. But set-pieces alone aren’t enough to tell this tale, which leaves far too many unanswered questions about the dystopian world the sisters find themselves in. Ultimately it feels like an excellent workshop demonstrating how much can be achieved through expressive movement and physical skills, rather than a completely satisfying piece of storytelling.
