I usually do my research before seeing a play at the theatre. Have a look who the director is, see if I recognise any of the actors, check up on the storyline. I didn’t for last night’s double-bill in Bristol Old Vic’s studio. In fact, the only preparation was a couple of ciders from the Old Duke down the road and lots of laughter with my delightful drinking companion.
I’m pleased I didn’t do any research. In reality, not much preparation could be done as Unintended Consequences and Legs 11 were both being performed for the first time as part of Bristol Ferment, a fortnight-long programme of work that is brand new and still in development.
The idea is that by testing ideas in front of a live audience and gathering thoughts and feedback, the artists involved can move forward with their projects and make them the best they can be.
Our night yesterday started off with Unintended Consequences, “an absurd mystery of points, lines, surfaces and volumes” performed by Brenda Waite (right).
Split into three elements, all combining physical theatre, mime and dance, Waite first donned a red clown nose and to a laughter soundtrack from a vaudeville performance by George Carl in 1975, set about untangling hoses and getting her foot trapped in a metal bin.
Then she moved over to the other side of the stage where another disparate collection of items, from a mop head to a laundry basket, were waiting for her to explore. The show ended with a disarming display of culinary curiosity, as slices of bread, a jar of strawberry jam and a mound of flour combined – perhaps the unintended consequences of the title.
There was laughter and bafflement in equal measure for Waite’s performance, a similar reaction for the second show of the evening, Legs 11, performed by Tom Marshman (below) and produced by Clara Giraud.
Marshman’s legs were given their own personality as we learnt about their varicose veins, the operation to remove them, and their quest to become the legs of tight manufacturer Pretty Polly in their Legs Eleven competition.
It was a performance both heartfelt and funny, with the real life aspect adding a further shine to proceedings. Marshman, who often pranced around on stage wearing no more than a pair of tiny leather shorts, presented the story of his legs in various ways, from a Gregorian chant-style reworking of his doctor’s notes to a dance routine featuring four legs – watch out for this outfit at the Bristol Half Marathon in September.
Before that, Marshman is taking the best five minutes of Legs 11 to the Edinburgh Festival next month, and also next month will find out if he has become Pretty Polly’s brand ambassador. He has already got the support of Pretty Polly brand director David Hinchcliffe: “We fully support your project and if the quest for Legs 11 helps bring it to a more public view, we are delighted.”
The show ended with Marshman squeezing into some tights, under which were long straws connected to small bottles of wine which he invited audience members to drink, invoking his former varicose veins which he admitted that he sometimes misses. It was a surreal yet strangely moving end to a lively, fun and engaging piece of theatre.
