Peter Darney’s one-act comedy drama about young offenders, and the people trying to turn their lives around, brings Grand Ambition back to the Grand’s Arts Wing. Reviewer Jonathan Marshall finds a stellar cast, a script that is political but never preachy, and further proof the company is a ‘creative powerhouse’ for Swansea. It runs until Saturday 24 October.
They’ve done it again. Swansea’s most exciting new writing theatre have lived up to their name once more. Following their success with this summer’s Physical Education, Grand Ambition presents A Tidy Boy.
Penned by Peter Darney, this one-act comedy drama draws us into the world of young offenders and their rehabilitation, with a focus on those who devote their lives to trying to make a difference.
Bright-eyed and bushy-tailed Geraint returns home to Skewen from London. Armed with iPad and policy documents, he feels assured in knowing best practice. Manager Sylvia and long-standing staff member Ann know the reality: not every obstacle or encounter with the young people they work with can be overcome by referring to a case study or guide.
The intimate studio in the Arts Wing at the Grand is reconfigured to traverse: the audience sit either side of a set which splits between the home of young offender Kai and his other half Kirsty, and Geraint’s place of work. The action moves seamlessly between both locations, just as each scene flows into the next without room for pause. That’s not to say there isn’t breathing space here, but director Christian Patterson ensures everything moves at an appropriate tempo. We always have something to focus on and something to digest.
As we have come to expect from Grand Ambition, a stellar cast captivates us throughout the 95 or so minutes. Eiry Thomas completely convinces as manager Sylvia. While dealing with her own personal issues relating to her dying father, she must also combat constant red tape, bureaucracy and the threat of funding cuts, all while responding to the daily demands of volatile yet vulnerable young people. The scene in which she receives expected, yet devastating news is incredibly poignant thanks to the understated delivery by Thomas and the well-written material she is working from.
Lynn Hunter provides a nice contrast as Ann, who is somewhat lacking in a filter and a little removed from what we might call being politically correct. While her remarks often prompt laughter, a wider point is raised in how we adapt to an ever-changing world as we get older, and how we know what is and what is not okay to say. The performer exhibits excellent comic timing while also offering hints at the vulnerabilities and insecurities which reside beneath her no-nonsense, robust front.
Oliver Jacob Davies impresses as by-the-book Geraint, again providing perfect contrast with Ann. It’s engaging to witness him gradually undo his straight laces and loosen slightly. Much fun is had during a certain scene whereby he and Kai collaborate in a training session. The actor manages to pull us in and see things from his perspective, while the script simultaneously permits us to look at him objectively, making our own judgements.
This is testament to Darney’s writing, which might sometimes veer towards being political but never preachy. The writer places different viewpoints in the dialogue of his characters, without ever using them as simple ciphers for his own views. Instead, we have organic and authentic exchanges, which feel true to life and prompt us to consider our own opinions on certain topics raised.
A great deal is condensed into a short duration, with sexuality, masculinity, alcoholism, domestic abuse, government funding and rehabilitation programmes to name but a few. Easy breezy escapism this is not. However, the character-driven humour more than compensates for the sometimes sober subject matter. Nothing gets an audience on side more than humour, and comedy will always be an effective means of exploring the darker aspects of life. Here it is used brilliantly, resulting in an evening equally evocative and entertaining.
Geraint De Carvalho as troubled teen Kai commands our attention. We buy into his hard-man exterior but soon see what his walls are guarding. Confused and endeavouring to discover his identity, while already parenting a child at eighteen, Kai is very much a lost boy. Partner Kirsty is not his Wendy. Played superbly by Kelsey Short, Kirsty either retreats into the bottle or she’s about to bottle him! Both mental and physical punches are dispensed, making for some uncomfortable moments, yet ones which shine a light on what is, sadly, a reality for many men.
Some might argue it would be interesting to see more of Kirsty, but this is not a fly-on-the-wall documentary exposing all. Rather, we are presented with snippets of these individuals and their interactions and left to put some of the pieces together ourselves.
Darney and Patterson tie things up, although pleasingly not into a nice shiny bow. We depart with our thoughts stirred and our ideas provoked. In a way the stories of these characters continue in our minds as we vacate the venue.
A sign of good theatre, and further proof that Grand Ambition is an incomparable, much-needed creative powerhouse for the city. Although the company is soon to enter its fifth year, it feels like it is only getting started in placing its individual stamp on the Swansea scene. Here’s to another half a decade of generating conversations, delivering compelling stories and showcasing stunning new talent across South Wales and beyond.
A Tidy Boy is written by Peter Darney and directed by Christian Patterson. It runs at the Arts Wing at Swansea Grand Theatre until Saturday 24 October. Tickets are available from the Grand Theatre website or the box office on 01792 475715.
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