6 – 21 September
I’ve long been a fan of Sally Cookson and having missed this Ross Willis play the first time round, its return to the Old Vic gives me the chance to confirm my own biased assumption that she can do no wrong. My bias was confirmed. Aided and abetted by her long time musical collaborator, Benji Bower, Ms Cookson again exercises her facility for showing what theatre is capable of in this production – by bringing to light the inner life of a young boy, Sonny (Hilson Agbangbe) who has become socially isolated and locked within his own body as a result of a debilitating stammer. With the kind of theatrical leap that has one smiling we see the ‘real’ Sonny in the guise of his alter ego, Captain Chatter (Ciaran O’Breen). Cleverly mimed by Mr O’Breen, the superhero has Sonny whizzing through space to the stars, released from all social constraints.
Children like Sonny, whose personal struggle is portrayed with writhing frustration by Mr.Agbangbe, will often overcome their problem and thrive if they have a champion, someone who takes the trouble. For Sonny, this is the deputy head of his new school, Ms Wainwright (Eva Scott) who becomes aware of his talent as an artist and battles against the box ticking indifference of the head teacher (Jess Murain). Also on Sonny’s case is fellow student, the gloriously over-confident Roshi (Naia Elliott-Spence) who devotes both warmth and energy in trying to bring him out of himself.
One of Sally Cookson’s great strengths is her ability to use her theatrical imagination to show rather than tell, to be always supporting the spoken language with images. At one point Sonny is crushed under the weight of the alphabet, literally struck down with giant letters. It’s a potent image that conveys a complex idea. Again, three identically dressed Bards will not be denied since, as one declares, “I’m on the fucking curriculum”.
Like the recent Paralympics which help us see things and people in a different light, this socially aware play gives us a salutary new perspective on a human problem that is all too easily overlooked or dismissed by society at large. And it reminds us of the treasure that is the creative imagination and that of our inner lives, especially for those it is often too easy to neglect.
This is a welcome return and gives new audiences the opportunity to see creative theatre at its socially relevant best.
★★★★★ Graham Wyles, 12 September 2024
Photography credit: Steve Tanner
