Review by Mark Quinn
I had the unexpected privilege of seeing this production as a reading in The Lyric Belfast last July. It was clear that even in a not-quite-finished form, co-writers Kirby Thompson and Orla Graham had something special. Thompson here co-directs with Caoimhe McGee, and Graham pulls quadruple duty efficiently balancing 3 roles on-stage.
‘Float’ sees four 20-year-olds navigating the jollities and pitfalls of student life in Belfast. From celebrity cardboard cut-outs to the slow gaslighting from a group of J-named boys, the play delicately balances the comedy and tragedy of the first time living away from home. The rapid-fire, overlapping dialogue in an early scene across a game of Kings builds and builds to hilarious (and often relatable) crescendos.
The morning after the night before brings a gradual tonal change, skilfully manoeuvred by Ellen Andrew’s Erin, the heart of the show. The most impressive aspect of this production is how it captures the ugliness with which a sexual assault can splinter and divide a friendship group. Each of the foursome’s reactions is unique and afforded the breathing space and exploration within the hour to feel natural and justified, particularly with regards to Leah Williamson as Grace, who perhaps has the toughest tightrope to traverse.
The care and delicacy with which the subject matter is treated is obvious in the play’s structure, as we are returned to the scene of Erin’s first counselling session. This occasionally feels contrived; a ‘how-to’ guide on how to handle your first time in therapy. Too, the reliance upon narration becomes cloying on occasion, in contrast to the performances which are across the board fantastic (not forgetting Annina Noelle Watton as Mia, played ever so subtly, before deservedly garnering the biggest laugh of the night in some inspired physical comedy).
On my exit from the theatre, any earlier misgivings I had fell apart as I was greeted by a large group of young women in their late teens and early twenties. One placed her hands on the cheek of another to wipe away her tears. Three gathered to hold each other close. What was striking was not the tears, but the smiles on their faces as they held each other.
This to me was ‘Float’ manifest; the solidarity in female friendships and proof that work like this is absolutely necessary. It has also left me in no doubt that the future of original pieces in Northern Ireland is extremely bright. If you’re headed to the Edinburgh Fringe this August ‘Float’ is well worth checking out. Moreover, if you’re a university, or prospective, student, this is mandatory viewing.
