Review: Neat re-writing, excellent casting, and a standing ovation: TRASh, DramSoc's first production of the year

By Noah Robinson, Third Year Law

Six decades. Six short plays. Two and a half hours of student theatre all put together in three weeks. It sounds unachievable, right?

TRASh is Bristol DramSoc’s annual showcase which takes audience from the 1970s right through to the present day in an eclectic mix of pop-culture classics.

The 1970s is always a tough feat to get right, with nearly all the audience (and actors) being born in the 2000s. But the choice of Doctor Who, with some neat re-writing from Oshi Hopson and Iola King-Alleyne, brought the audience a nostalgic hit. Doctor Who is strange at the best of times, but the pair transformed the show into a meta-theatrical comedy whilst paying homage to the true nature of the series. The running gag of the Doctor shouting “I’ll explain later!”, the absurd going back in time again (‘anticipating the Master’s anticipatory anticipation’ – makes sense if you’ve seen it!) and a behind-the-scenes of the Daleks’ Day off gave new life to the show.

With some excellent casting choices from Louis Thresher and Jamie Druce, Scooby Doo was faithfully produced to the capture the peaks and falls of this 1980s hit. The phenomenal six actors made up Mystery Inc, skilfully capturing their characters’ mannerisms and eccentricities (“jinkies! My glasses!” from Velma got a laugh every time). It was evidently a crowd pleaser and was well-supported by a familiar cast of ghosts and ghouls from across the series. The direction made excellent use of the space beyond the Winston Theatre’s stage, bringing an all-round entertaining experience.

Closing the first act was satirical comedy But I’m a Cheerleader which bring us up to the 1990s. Evanthe Gee and James Ogilvie succinctly condensed the main throws of the film into a fast-paced, queer iconographic-packed and (oddly?) empowering piece (and yes, OMG and Chappell Roan do make appearances). On the face of it, a high school cheerleader sent to a conversion therapy camp to ‘cure’ her sexuality doesn’t sound like it would lend itself well to comedy, but the frank mocking of gender roles and queer stereotypes in the best tongue-in-cheek way against a ludicrous background of baby blues and pinks, had the audience wrapped.

Bringing us back after the interval was cult classic St Trinians, propelling us into 2000s. Directed by Gabriella Adaway, Beth Miles and Rosa Melvin, the anarchic girls’ school was revitalised by some strongly delivered characterisation of the various cliques. A particular highlight was the pre-filmed makeover of main character Annabelle Fritton whilst some (very quick!) quick-changes were happening backstage. Playing more into comedy than drama, the girls’ plan to steal the painting Girl with a Peal Earning feel neatly into place, like the rest of piece.

Triple threat much? Pitch Perfect brought out the acting, musical and dancing skills of the actors in this well-led choral piece for the 2010s. Emma Morgan, Rosie Carey and Amelie Breach choose to focus on the iconic showdown of musical talents between the re-named Bristol Bellas and the Treblemakers. There was some particular standout choreography from the Treblemakers who provide a well-matched rival to the fan-favourite Bellas.

To bring us to the final curtain and into the 2020s was What We Do in the Shadows, brought to life by Libby Connor and Hattie Millard. This piece certainly benefitted from a parody of the TV’s show intro, featuring some classic Bristol student sites (think a vampire’s night out on the Triangle). The tight trio of Nandor the Relentless, Leslie Cravensworth and Nadja of Antipaxos are faced by the Vampiric Council, showcasing some great accents and costumes from a cast of vampires across the globe. For what is perhaps a slightly more unfamiliar show, it was a great roundup to close the show.

The standing ovation for all six casts on the first night of what is expected to be a sold-out run was certainly deserved.