Asa Butterfield is immaculate in Barney Norris’ one-man tragicomedy. A mixture of playful and self-deprecating, the play, based on David Foenkino’s novel, explores the cumulative impact of childhood trauma. Martin (Butterfield), who is at the brink of fatherhood, becomes troubled by past wounds. He recounts his experiences which all ultimately stem from losing the part of a lifetime – Harry Potter.
Like a gawky, wry man you’d find in a British sitcom, Butterfield prances across the stage. His body moves erratically, finding expression before his words can catch up. The tone is conversational. Casual. But we see his dry wit progressively morph into a gritted teeth-resentment.
The slow build is structured wonderfully. Martin begins half jokingly recounting his story, aware of its ridiculousness. He pulls at our heartstrings reenacting his eager child self going through relentless auditions. Butterfield’s impersonations of other characters in Martin’s life are such sharp transformations that materialise out of thin air.
As his younger self clutches at straws of coping mechanisms, you can’t help but pity his innocence and desperation in the face of the absurd comedy. From shutting out everything related to HP, to trying to conquer his fears, it is all futile. Even being assigned to the psychiatric unit is comical as insult adds to injury (hopitale psychiatrique is HP).
At the crisis point, Martin spirals with an Edgar Allan poe-like anguish, tormented by guilt, shame, and inadequacy. Butterfield conveys this feeling of isolation and turmoil, with delicate direction from Michael Longhurst.
Fly Davis’ set is a surreal art installation, with its white walls and unrelated objects stood on the stage or protruding from walls. There is a magical quality to it all, yet they belong to specific snapshots from Martin’s past, giving it the feel of an aftershock. Richard Hammarton’s spooky, reverb and vocal distortion echoed this.
Norris’ delicious script treats us with sentimental paraphernalia, tin foil from tuna sandwiches, oddly specific HP merch, crocheted carpets, paint swatches. Martin’s dialogue is eloquent, and his retelling of events is coherently structured until it all bleeds into the past.
Norris’ evocative script and Butterfield’s masterful, fluid storytelling make for a hilarious, yet devastating watch!
Playing until 22 February, https://riversidestudios.co.uk/see-and-do/second-best-134227/
Reviewer: Riana Howarth
Reviewed: 3rd February 2024
North West End UK Rating:
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