By Natalia Dewhurst, Fourth year, English
It’s the closing night of a sold-out run. As I settle down to another yearly instalment of DramSoc’s ‘Trash’, the air of anticipation is punctuated by frequent whoops and screams from the excited (and slightly tipsy) audience. That Really Artsy Showcase draws on iconic film and TV from the last six decades, reimagined in six original sketches.
Opening the show was ‘The Shining’. What began as pure parody slowly became genuinely creepy, as the boundary between humour and horror began to blur. In a word, it was hysterical. The characters were satisfyingly close studies of their originals, yet with the signature Trash twist of wry satire. A highlight was Danny (Mery Sutherland) on a comically small toddler’s tricycle. This joke was pushed to the max, with a montage onscreen of Sutherland and the tricycle’s adventures around Clifton - including her riding it over the suspension bridge accompanied by dramatic, operatic music. After lulling us with such hilarity, the manic ending was all the more shocking. It’s a stellar performance from Jack Harrison, whose uninhibited acting went as crazy as his character, Jack Torrance. The Axe chase was physically and psychologically unhinged, and stopped the audience’s laughs in their throats, as Harrison disturbed as a convincing psycho.
Ushering in the next sketch was the instantly recognisable Breakfast Club theme. Everyone sang and clapped along, until John Bender (AJ) descended from the top of the audience, handing his jacket to one lucky viewer, and striking a pose centre stage. Like his character, he commanded the room and was the glue holding the sketch together. Brian (Scott Hawkings) was the loveable geek who earned many an “aww”, while Mr Vernon (Freddy Adamson) was the comedic highlight. The costumes, hair, and makeup were spot on, with everyone looking like they walked straight out of the film. To back the visual, they also had their characters’ mannerisms perfected. They energetically and accurately recreated the movie’s most popular scenes, including satisfying details like the famous dance sequence. For this reason, I honestly enjoyed their snappy version more than the (very long) original. At the end, you couldn’t help but smile as everyone timidly paired off into unlikely but heartwarming couples.
Last up in act one was the eagerly anticipated ‘10 Things I Hate About You’. Cleo French made the perfect Kat Stratford, combining dry humour and emotional depth. Grace Mgee as Ms Perky was brilliant, secretly writing her erotic fanfiction. I would call her a standout, but everyone was so good! Cameron (Milo Gray) and Bianca (Georgia Scott) were the unlikely OTP, earning a massive cheer when she finally kissed him. I could go on and mention everyone here; the whole cast was so strong individually and together. The perfect ending was Patrick Verona (Lachlan Williamson) descending from the top of the theatre, singing live (and very well) ‘Can’t Take My Eyes Off of You’ to get the girl. Even more perfect were the three very convincing stage punches delivered by Bianca to the sleazy antagonist, Joey (Ryan Scotte).
Opening the second act was the best sketch by far: ‘Angus, Thongs and Perfect Snogging’. Tilly Wade, Lucy Bell, and Maddie Payne utilised everything in their arsenal as directors. The writing, staging, and lighting were all honed to an art, making the sketch hold together impressively as a complete and satisfying piece in its own right. Turning the stage into a gig and pit was a particularly memorable example of their spatial imagination.
Hattie Parkinson as Georgia was the indisputable star of the whole show. Her flawless performance fully embodied the awkward, scrappy, and loveable teen. Whether she was dramatically strutting and skipping around the stage, pouting at perceived injustices, or delivering an over-the-top teenage whine, she was brilliant and hilarious. It was clear from the deafening “ahh”s and “boo”s how firmly invested the audience was, from the moment Georgia entered dressed as a stuffed olive. Georgia met her dramatic match in Robbie (Toby Bateman), the dreamy lover-boy. Bateman was equally convincing and funny with his would-be-seductive voice, deadpan delivery, and swanky strut. The subplots and supporting characters were just as wonderful, and a vital part of the hugely effective whole. Lindsay (Emma Wheeler) was delightful as the villain we loved to hate, Angus the cat (Ellie Gale) was deadpan unbothered, and Mum (Kathleen Keaney), Mummy (Evie Freeman), and Jem (Esme Fleeman) formed a hysterical parental love triangle.
It just so happens that my housemates and I are nostalgically rewatching The Next Step, so I must admit that I was most excited for the Next Sketch (if you will). It opened with a recreation of the iconic title sequence, complete with the title music and the dancers’ names flashing up on screen. What ensued was a deeply funny and satisfying parody. Utterly nonsensical dance moves and stretches were performed with full sincerity. In-jokes from the show abounded and delighted. The writers did an amazing job of condensing thirty episodes into thirty minutes.
Hannah Jeffreys
Their inclusion of perfectly selected internet memes was very witty, further mythologising the pop culture moment of the show. For example, Emily (Dilion Boucher) saying “just vote” at the dance captain selection (if you know, you know). Boucher oozed confidence, truly becoming Emily with the improvisation of asking an audience member, “WHERE are you going?!” as they left to go to the toilet, to the audience’s shock and delight. The A-Troupe of Trash threw caution to the wind, acting (and dancing) their hearts out to create an electric atmosphere and unforgettable evening.
Last up was ‘Knives Out’. The opening shock-factor of the bloody dead body effectively set the tone for a tense, slightly more serious sketch (only slightly). Lewis Devaney-Rattray as Detective Blanc did an amazing job commanding the stage alone, delivering monologues and narration with confidence and ease. Some of the suspects were transformed into all-too-familiar Bristol archetypes, including the posh gap year boy and the DramSoc alumnus, both deliciously insufferable. They knew their target audience, which was clear from the audible sobbing gasp from one viewer at the line, 'character work twelve years past graduation is not a job'.
The curtain fell to a well-earned standing ovation. It’s been another rollicking evening and unforgettable showcase.
Featured image: 'TRASh showcase' | Epigram / Natalia Dewhurst
Will you be going to any student-led performances this year?
