Come look at the freaks!
Having caught this super talented crop of final year BA students from the Royal Conservatoire of Scotland quite literally, baring all in Spring Awakening earlier this year, I wasn’t sure what to expect with their latest production of Side Show! Stripped back to the intimate setting of the WEST Brewery at Glasgow Green, I was curious why the Directors would choose such a low-key venue? As this would be their final performance before graduating, why wouldn’t they want to stage a production that was bigger and better than any they’d done before?
Well, sitting in the front row witnessing their very last performance together (23.05.18), it suddenly made sense. This was to be their biggest and best performance. Up close and personal, there was nowhere to hide. Even before the show began, the freakswere making their presence felt, in an eerie sort of way. They didn’t speak. They didn’t smile. They didn’t fit in. It was like they were in their own little world. But you connected, though not through choice, for the entirety of the show.
Side Show is based on the true story of Daisy and Violet Hilton, conjoined twins from England who were exhibited as children in Europe, and then toured across America as part of a sideshow act by their controlling, money-grabbing, adoptive parents. They were then recruited to the vaudeville circuit through the 1920’s and 30’s before starring in the 1932 MGM film, Freaks. They cover themes of control, coercion, abuse, rejection, a struggle for stardom, independence, love and rivalry. And it brings literal meaning to the phrase, joined at the hip.
Opening with Come Look at the Freaks, the students made their way to pick up their instruments and scene was set. As more of them weaved their way to the stage, they intertwined with the audience and drew us further in. Perhaps I had chosen the wrong seat, or was I just an easy target, it seemed that they all had to eyeball me at some point – a brave and difficult thing to do! It may seem quite a big deal to perform on a huge stage to thousands, but you are often masked by the blinding spotlight. It takes real guts to stare someone in the eye and invade their personal space. This cast had guts, and never flinched.
Daisy, played by Grace Galloway, was portrayed as infectious, warm and vivacious. Whilst she hoped to seek fame and fortune, Violet, played by Emma Harding, was much more grounded, and at times stubborn. She hoped for a quiet life with some normality, and to have a loving husband at home. As the sisters were scouted by the charismatic Buddy, played by Edward August, and impresario Terry, played by Charlie McCullagh, they each fell in love. But this wasn’t true love. This was first love. Or perhaps mixed up with an admiration for the two men who helped them to escape the shackles of their sinister ringmaster and adoptive father, known only as ‘Sir’, played by Callum Marshall. The final principal, Jake, played by Luke Hickman, who initially terrified us as 'Cannibal King', mellowed throughout the show and stood up for the girls as their friend, protector, and Violet’s secret lover.
They often talk about the ‘triple threat’ in Musical Theatre. To be successful you need to demonstrate talent and competence in acting, singing and dance. But that’s now out of fashion. Let us consider the ‘quadruple quantum’. These students were also musicians, many of whom rotated between instruments throughout the show. This was a spectacle to watch as they floated in and out of the action when necessary.
Whilst the show was almost told entirely through song, I thoroughly enjoyed the music and lyrics by Henry Krieger and Bill Russell respectively, but I didn’t leave the theatre singing along or with any particular tune stuck in my head. Is this where Side Show falls down and you start to understand why it isn’t a big hitter on the professional circuit or amateur stage? The music was at times too loud and some lyrics were missed. Perhaps this was down to insufficient sound equipment being utilised in this setting? But I’ll forgive this as their plentiful supply of energy, passion and emotion made up for it.
As there was no stage, no curtain, no wings, the staging was simple, somewhat sparse, but they circled the room with their entrances and exits through the aisles. Props, there were few, but used well. Lighting was (as usual with RCS) crafty, dramatic and effective. Even to the extent of lighting the venues brewery tanks as the backdrop, it was a nice touch.
Whilst many of the ensemble featured more prominently in Spring Awakening, they each gave a mighty performance in Side Show. Names to look out for are Max Alexander-Taylor, Casey Anne Apregan, Ross Baxter, Louise Duff, Meg Forgan, Felicia Gray, Pia Hagen, Sarah Michelle Kelly, Cerys Lee-Jones, Bethany Tennick and Lydia White.
With the calibre of students graduating from the Conservatoire at this exceptional high standard, the future of theatre is really bright. I look forward to watching their careers blossom as doors open (and close) and just like the Hilton twins, they await their big break. Until next time, I’m guessing they work hard, and party harder! The emotion was certainly written all over their faces standing hand in hand, in that final line-up. Well done RCS, I can’t wait to see what you do next.
All photographs from @RCS_tweets and @RCS_MT Twitter accounts.