‘Everything Means Nothing to Me’ review
‘inspired me to go and listen to Elliott Smith’s music further: the mark of a very good tribute play.’
I entered the show not quite knowing what to expect, but the minute the stage lights came on I was invested. Everything Means Nothing to Me follows Charlie Rivers, as he navigates bustling Los Angeles on a quest to find out what happened to his music idol Elliott Smith. From start to finish, the whole cast and production team took the audience on a journey following a young, idealistic boy, navigating challenging topics such as depression, suicide and what it means to be alive, in a beautiful and nuanced manner.
From the first scene which created an eerie sense of aloneness, to the beautiful starry sky projection, Charlie's emotions were reflected in the clever use of lighting and projection designed by Carrie Cheung and Gemma Parker, aiding the audience’s feelings of connectedness to the protagonist. The mix of a bustling stage against the moments of pure solidarity is also a credit to the direction of Charlotte Walton and her assistant director Iris Varla.
However, the play would not be what it was without the brilliant writing of Horatio Holloway. To not only create an engaging, thoughtful narrative, but to write it in such a way that the poetic nature of Elliott Smith’s songs is reflected in the play’s writing is exceptional. To cleverly craft a script which intertwines complex issues in a sensitive and thoughtful way is a credit to his talent, and to create a lead who functioned as a conduit for Elliott’s voice while also subtly reflecting his own struggles, was something I haven’t seen often in DST plays, and was a mark of Holloway’s skill.
Praise must be given to Moritz Afridi, who delivered a standout performance as the central narrator, Charlie, not only navigating the challenge of learning heaps of script, but embodying the spirit of youthful curiosity and inquisitively, whilst bringing an infectious charm and likeability to the role. Afridi’s ability to draw the audience in with his engaging stage presence remained steadfast throughout, navigating moments of desperation laced with defiance in a beautiful manner.
However, the story wouldn’t have moved so smoothly without the aid of the ‘dancers’, expertly portrayed by the ensemble. Khaliun Mark excelled in delivering comedic relief, brightening moments of the narrative and adding levity to the otherwise serious themes, aided by Holloway’s clever writing. Harry Threapleton demonstrated immense versatility through his multi-roles, especially as the MTV executive Alex which had the audience oozing with discomfort – showing his skill at evoking strong emotional reactions. Poppy Harvey Wood’s expressive energy in every moment that she was on stage was magnetic, seen not only in her ensemble work but in her cameo as well. Finally, Nell Hickson delivered a beautifully balanced performance, oscillating between sass and raw vulnerability with ease. Her ability to capture emotions purely added depth to her character, especially in her interaction with Charlie towards the end.
The ensemble movement, choreographed by Felicity Rickard, added yet another richness to the play. Though each dancer had their own dialogues throughout the play, the moments where they worked as one to bring about sequences of physical theatre, in true Wrong Tree style, were by far my favourite – something I would love to have seen more of. The ensemble work, especially in the chat forum scene, was a standout, with each actor skillfully varying their voices to bring it to life. The puppetry movement, aided by the work of Production Manager Rory Collins, was striking, adding a poignant aesthetic that complemented the text beautifully. That, assisted by Jiyan Shepphard's guitar playing was a moment of peace and reflection, a beautiful tribute to Elliott Smith. The clever use of stage elements, including a drum kit for sound effects, and the quite literal “framing” of scenes, were visually effective and ingenious. Homage to Elliot Smith was seen throughout with the clever use of his music (operated by Andrew Mullins and aided by Preeya Harte) acting as means by which transitions occurred, which could have been slightly smoother at times to keep the fluidity of the play going.
Overall, the play was a powerful tribute to Elliott Smith, weaving a mirrored poetic narrative that resonated deeply with the audience, and allowed for a reflection on the number of fallen stars that have been taken from us. The script touched on tough issues with elegance, using Smith’s music and lyrics as a backbone, and inspired me to go and listen to Elliott Smith’s music further: the mark of a very good tribute play.
By Neve Kidson.