Skam Theatre recently ran their “satellite series”, where a total of four shows were offered to Victoria theatregoers. I was able to catch three of the four (and if I recall, I had actually seen Spec theatre’s offering at Fringe two years ago).
Show 1 – Seagull by Cowboy Theatre
It is Seagull’s last day on earth. They have things to do.
Because, see, we’re at Seagull’s celebration of life. Seagull is going to die today. Like, now.
Seagull is run ragged by the lifeness of life. They are tired of getting the runaround, of the measly self care, the friends who aren’t very good friends. The heartbreaking being left behind and the memories of abandonment.
This doesn’t really sound like a fun, engaging hour of theatre, but in Islay McKechnie’s hands (wings?), Seagull’s story is revealed in an offbeat way that we can’t help but cheer them on.
If I can identify an area where I felt the show lacked direction, was the very beginning. There’s a spoken word bit which conjures incredibly evocative images and is incredibly intense. While this section was incredibly powerful and impactful, as an audience member, I didn’t understand how it tied into the larger story.
This show was unlike anything else I have seen, and I loved that. Funny, but grim. Seagull was touching in a way I didn’t expect. It allowed us to be touched by grief and hold it heavy, and not feel obligated to put a positive spin on things. It also allowed for a little bit of joy to peek through.
Show 2 – The Law of Gravity by iuvenis Productions
The Law of Gravity was a touching, beautifully human love story that so perfectly encapsulates the hugeness of what it means to be 14, not 15.
This wasn’t in any way a story I have experienced personally, but these talented performers so clearly knew who these characters were, they were able to share them with us with love and honesty that we couldn’t help but be invested in their journey.
Where I think this show excels the most is the perfect representation of that pointed, yearning pre-nostalgia of not wanting to be here and now, to want to fit in. To fall in love as oneself. That feeling of hate for the suburban life and siren lore of the city. Dom and Fred’s journey has such playfulness, anyone watching can genuinely believe the care they have for one another.
There was a small amount of lyrical movement/mirroring, and I would have liked to have seen more. By the time we arrive at the peak of the action, as an audience member, I had somewhat forgotten that was a convention of the show. That beach scene worked so, so beautifully I wouldn’t change a thing about it.
A few years ago, when I was working as a front of house a patron approached me and said “why are there so many gay plays going on?” (it was, I will point out, the first play with a gay love story in my three years to that point – somehow that’s “so many”). I was totally stunned, but if I were to be asked what the value of queer theatre is today, I would respond that a show like this one gives queer people space to know that they’ll find love. That love may be romantic, the love of family, or of friends. That they aren’t broken or abnormal in any way, even if the noxious cruelty of their classmates say otherwise. This play gives a bit of hope, without ignoring the reality that queer kids face, and that’s just beautiful. That’s the value of a show like this.
Show 3 – Middle Child by SNAFU
Middle Child is a piece in development but it definitely felt fully on its feet already! Kathleen Greenfield is a middle child in real life, and uses her clown persona, Soupa, to tell her story. Seemingly simple, but Soupa the clown takes us through several stages, through the gamut of emotions via the stories of her past.
Greenfield is an exceptional performer, having us laughing, singing songs, and holding hands with others from one minute to the next. She takes audience members right along the ride for her, and in many instances, they are brought up on stage, filling key roles for her.
Some of the audio storytelling was a bit crackly and hard to hear. I bring this up because I think I might have missed a bit of context linking the different memories together. While I enjoyed each of the individual pieces of the storytelling, I was unclear how they linked back to Greenfield’s real life story.
My confusion aside, Greenfield has created a show that had us all in the palm of her hand (or in one case, a beet in the palm of the hand of a brave audience member – no, I won’t explain that), and we were all along for the delight of a ride.
At the end of the show, Greenfield stated that Soupa’s voice was relatively new. I think the older, sassy Soupa is a heck of a guide through anyone’s memories and I can’t imagine any story that wouldn’t be enhanced by her antics.
All three of the shows I was able to catch were vastly different from one another which was a joy to experience, almost like a mini fringe festival in the colder wintery months! A sincere thank you to SKAM theatre for coordinating this, and for all the performers who put their time, energy, and effort into these performances.