Beyond Ourselves is a new piece of writing, aiming to highlight the challenges for drama graduates and ‘the obstacles they face and the drive and determination to overcome them’. This hopeful premise prompted a personal and emotional response. It’s not just my story, but the woeful narrative of most of my friends. Not only do I have a dog in this fight, my life has been nothing but a canine battle to a symphony of yaps, howls and sighs.
Despite heartfelt sympathies and an abundance of experience, my expectations for Beyond Ourselves were low. The thought of giddy drama kids doing high-kicks and forlorn soliloquies sent shivers down my wizened spine. It’s entirely possible that the failures and odd diversions of my own career swayed my judgement. It was a curdled mix of grim curiosity and a pretentious fetish for theatrical torture that fuelled my interest in this play.
It was entirely surprising to find that Beyond Ourselves proved to be one of the best shows I’ve seen this year. It’s hilariously clever, highly entertaining and refreshingly inventive. The narrative of the drama concerns a group of young actors seeking the narrative to a drama they have yet to create. They have been bestowed a space and have turned up to a development workshop led by Jake Rayner Blair. That is the name of the actor. There is no character name given in the programme. Evidently, he’s playing himself. Or at least a version of himself. As are the rest of the cast. Possibly.
Blair is earnest, pretentiously vague and ridiculously optimistic. His woolly theories and overly sincere anxieties around language and fear of causing offence, provoke and mobilise this group of performers to question the viability of the project. While improvising and debating the merits of show business, they share their dreams and struggles.
It’s very meta. They break the fourth wall, then discuss amongst themselves when it’s acceptable to pull such stunts. ‘Only in an emergency,’ is their conclusion. The troupe debate the relevance of being seen by the media and potential agents. Ironically, that’s a large part of the audience on press night. The line between reality and fiction is wilfully blurred and slyly mocked. They reference theatrical devices while winking at the audience and deconstructing them. The post-modern posturing works a treat.
Callum Diaz is the archetypal pin-up who looks like a Love Island contestant but is strangely wise and obsessed with Stanislavsky. It’s a comedy masterclass and Diaz pitches it perfectly. He’s very funny to behold, like a cross between Joey Essex and Jason Statham.
Danielle Laurence serves as a reminder to the rest of the cast that racism, subtle and otherwise remains a challenge in life and the industry. While attempting to devise the show, the cast riff on censorship, body dysmorphia, thwarted dreams, poverty and art. It’s a credit to Andrew Muir’s sharp writing that these topics are tackled with sharp wit and a light touch. The concept could so easily have appeared worthy and amateur. Instead, it’s surreal, brilliantly original and often hilarious.
The Ardent8 Ensemble consists of 8 acting graduates who’ve faced financial and geographical barriers to pursuing their careers. This project is part of an 18-month programme that involves mentoring and support. The show ends just as the characters have created a scene, with Eddie Drummond closing the show with a fantastic opening number.
In a rare turn for a night out at the theatre, we were left wanting more. When the cast entered the bar for a post-show drink, the entire room burst into applause. Haven’t seen THAT happen in a while.
Beyond Ourselves at the Union Theatre is on until 12th November, http://uniontheatre.biz/show/beyond-ourselves/
Reviewer: Stewart Who?
Reviewed: 8th November 2023
North West End UK Rating: