A Girl in School Uniform (Walks Into a Bar) examination during West Yorkshire Playhouse, Leeds – ‘intelligent and ultra-live’
April 13, 2017 - School Uniform
If you’ve ever watched a play being rehearsed you’ll know that a operation can feel some-more live, some-more compelling, even somehow some-more “real” than a finished production. Ali Pidsley’s prolongation of Lulu Raczka’s A Girl in School Uniform (Walks Into a Bar) deftly trades on this paradox.
In theory, a square opens in a bar of a play’s title. We’re maybe in a nearby future, or maybe in some war-torn benefaction day. Steph (Bryony Davies – deadpan, funny, northern), a immature lady in propagandize uniform, is looking for her friend, Charlie/Charlotte, who’s left missing. We’re told there are blackouts. We’re told that a lot of people go missing. But are Steph and Bell (Emma D’Arcy – harried, frenetic, cockney) even in a suggested bar during all?
Raczka’s play is no elementary A-Z naturalistic story. What starts out like Caryl Churchill parodying a Pinter fluffy dog story quickly turns into something altogether some-more sleazy and illusive. The content sits orderly in a criterion of complicated British (post-)drama that also includes Martin Crimp’s In a Republic of Happiness, Alistair MacDowall’s Pomona, and Nina Segal’s new Big Guns.
The prolongation keeps alive a spreading appetite of Pidsley and Raczka’s break-out association Barrel Organ – underscored by a shining sonic landscape from Kieran Lucas – while also hinting during new directions that their destiny work competence take.
There’s a spook vivid a piece, a spook of masculine violence. Raczka hardly touches on what has happened to a blank friend. She doesn’t need to. We all get it. This is a textual homogeneous of European visible theatre: dense, rich, allusive, and totally contemporary.