Written by Izzy Radford
Review by Marina Funcasta
This show largely does what it says on the tin: One Day meets Sliding Doors with a dash of Julia Davis’ Nighty Night? It’s almost a foolproof recipe. Guy meets girl at a birthday party, where for four consecutive years they are sat next to each other, and being forced to have a conversation, it is clear to us (at least) that their evenly matched wits must resort in their being in love. It’s 10 Things I hate About You. It’s When Harry Met Sally. And yet, there is something about Izzy Radford’s play which somehow makes it feel distinctive.
Her writing, first and foremost, shines. Clearly most at ease when writing the character of Mavis, played by herself, the relentless, charmingly awkward conversational digressions immediately bring her audience on side. She’s Jess from New Girl, meets Ilana from Broad City. Radford’s humour is relentless: it’s Mavis’ world, and we are all forced to learn the language of it, if not the play refuses to make sense. This is, even if some audience find Mavis insufferable, we have no choice but to bend to her whims.
The structure of the script is neat: cut into four segments of the same event, four years apart, it is impressive how quickly Radford and Airey can shift in their bodies and vocal tones. Florence Carr Jones surely has much to be credited for. The swiftness of the transitions, hilarious in themselves, keep the energy alive. Which is hard to do, given the circularity of the dialogue: bickering no matter the year, their arguments feel like emotional palindromes – coming back to the same truths, just in slightly different shapes.
David, played with some gusto by George Airey, understandably has some work to do. And he certainly achieves this by the end of the four years. The first year we see them together, it is true that I felt Airey’s performance to predominantly springboard from Radford’s, building his character through reactions to her rather histrionic outbursts. This limits the reach of his charisma, which Airey exudes naturally, and excels in moments of audience interaction. His monologue from Romeo and Juliet, for instance, would have brought me more on side if he wasn’t so closed off to Radford. But in this feminist spin on a rom-com, I suppose it is important we don’t fall for the male romantic lead too much…
Seating Plan is a reliable choice for Fringe. A rom-com which doesn’t take itself too seriously (excluding the odd Shakespearean monologue), this show is a guaranteed laugh. What makes it distinctive as a Fringe show, however, is its design: Miranda Cattermole’s stage design is pragmatic but inventive, and captures Mavis’ whimsical, playful edge through sheer materials and drapings. It is truly a joy to watch so much young talent work so well together.
A Joy to Watch
Seating Plan runs at Gilded Balloon Patter Hoose
Running time: Sixty minutes without interval
Review by Marina Funcasta (contact@corrblimey.uk)
Marina is halfway through an English literature degree at Edinburgh University, wherein she has been (considerably) involved in the drama scene: enjoying performing with their Shakespeare Company shows, but also modern takes on Arthur Miller. However, Marina’s interests are wide-ranging under the theatre genre – enjoying abstract, more contemporary takes on shows (with a keen interest in Summerhall)
