Seventeen - Matthew Whittet
Director - Anne-Louise Sarks
Lyric Hammersmith
Showing until 08.04.17
★★★
Matthew Whittet's play, first performed in Sydney in 2015, now opens at the Lyric Hammersmith. Tom Scutt's set design of a metal jungle gym and playground swings dominates the stage. The teenagers who have just finished their A levels are hanging around in the playground for one last time before moving on to the next stage in their life: this is the one last time they have to be a kid. The teenagers are all played by actors in their sixties, serving a poignant contrast between the two ages. Most of us can relate to the time when we were seventeen and about to step into the new and unknown. The hyper realistic dialogue, with an abundance of swearing and endless aimless conversation about gossip and relationships, the play had a timeless energy to it. The acting was relatively competent however the length of the play itself posed to be an issue. Whilst the first and last sections were gripping as they revealed deep secrets, the middle section lost traction. Further editing of this section could have tightened the overall piece and perhaps the momentum would not have been lost.
Director - Anne-Louise Sarks
Lyric Hammersmith
Showing until 08.04.17
★★★
Matthew Whittet's play, first performed in Sydney in 2015, now opens at the Lyric Hammersmith. Tom Scutt's set design of a metal jungle gym and playground swings dominates the stage. The teenagers who have just finished their A levels are hanging around in the playground for one last time before moving on to the next stage in their life: this is the one last time they have to be a kid. The teenagers are all played by actors in their sixties, serving a poignant contrast between the two ages. Most of us can relate to the time when we were seventeen and about to step into the new and unknown. The hyper realistic dialogue, with an abundance of swearing and endless aimless conversation about gossip and relationships, the play had a timeless energy to it. The acting was relatively competent however the length of the play itself posed to be an issue. Whilst the first and last sections were gripping as they revealed deep secrets, the middle section lost traction. Further editing of this section could have tightened the overall piece and perhaps the momentum would not have been lost.