‘February Story’ review
‘an intimate tapestry of a play, full of sincerity and warmth’
February Story unravels beautifully, in icy blue. Within a kind of wonderland of dreams, superstitions, poems, prophecies and chicken burgers, five young lives converge over the course of the titular month, whose passing is overseen by a suitably enlarged calendar.
We know we are in good hands from the outset, with Co-directors Joanna Bergman and Mariella Locke and Assistant Director Harriet Miller making creative use of the stage space and movement to conjure the powerlessness and potential of youth. Their creative direction is fast-paced and ambitious, with moments of snappy freeze-frame, dream-like surrealism and impressive choreography reinforcing the centrality of storytelling, suggestion and sensation.
Here, everything is evoked; the characters, as the centrepiece, are awash in a soundscape of voices and ambient noise, eloquently assembled by Sound Designer Bonnie. The minimalistic set also invites imagination, allowing clever staging decisions to add interest and moments of mystery to echo with a vivid power.
Harry Threapleton’s writing utterly blew me away in the structural development of its gradual reveals, and in the majesty of the final plot twist, making it a certified must-see for fans of honest, meaningful, inventive theatre. The coming-of-age story is conducted like an intricate maze – we, the audience, are always fabulously blind to what will happen next, but we are guided, nonetheless, by the strong authorial voice. We learn, along with the characters, to be comfortable with this uncertainty. Often witty, sometimes poignant, never boring, Threapleton’s script is elevated by the small and exceptional cast, who perform with a raw, authentic emotion that makes it hard to forget they were youngsters not long ago, most of them taking on multiple roles as members of an eerie masked chorus of fates.
Orlin Todorov (Patrick) is a particular delight. On stage, his simmering teenage angst suspends the tension on air, while his natural, confessional style brings us firmly back to earth. His numerous soliloquies to the audience endear us greatly to his character portrayal, with his 'finalists’ showcase' speech perhaps comprising his crowning moment, fully enveloping us in his world and drawing us in, with an emotional flourish, to the play’s end.
Eloise Robinson is, from the first moment, thoroughly charming as Patrick’s positive, curious friend Els. I was transfixed by her expert ability to manoeuvre the character’s growth and range and found her entirely convincing throughout in moments of conflict and joy alike. Katy Smith (Peter) has a persuasive chemistry with the rest of the cast, and, with a gentle bearing, subtly guides her sidekick role into full blossom by the end of the play. Tess Garrett (Sofia) is likewise expressive and compelling and seems to embody her role with a tangible ease and realism that was difficult to find fault with. As the bully Rafe, Nathan Jarvis delivers on every line, and I almost wish we had seen more of his skilful balance of body language and facial expression, which excelled in moments of physical comedy; I particularly liked the moment in which he got stuck in a bog. As a collective, their cohesion is apparent, and not one of them is left behind in talent, but all support each other to channel a natural, believable whole.
The production team of Production Manager Hamish Campbell, assisted by India Jubb, and Stage Manager Emma Renton, have outdone themselves in the accomplishment of this remarkably dreamy production, also reflected in the promotional materials created by Co-producers Laurie Davidson and Harry Threapleton. The immersive use of tech adds a professional flavour, wreathing the audience in subtle lighting changes, synchronised projection and soundtrack to capture Patrick’s psyche. The occasional quietness of the vocal tracks during dialogue moments led to some minor stumbles in the pace or comprehensibility of a scene, and showed some roughness at the edges. However, this was quickly forgotten among the magic of the atmosphere, the complex ingenuity of production elements balanced with largely smooth execution. Credit ought also to be given to Props and Costume Designer Libby Simpson for the construction of the gloriously attractive ‘fatecubes’ and for the spectacle of one avian costume in particular, the reveal of which I won’t further spoil.
It is abundantly clear that this loveable tale of loss, hope, accountability, freedom and grief springs from the souls and guts of its dedicated creative team and performers. If student theatre has a beating heart, this is what it sounds like.
Full of the victory of Winter’s end, February Story is an intimate tapestry of a play, full of sincerity and warmth, reminding us to find comfort in the chaos of the unknown. Let it sweep you away.
By Tabitha Layon.