Review of Triple Cheque’s Bare

‘Ingenious’ and ‘flawless’ are included in the descriptions of Bare that I have scrawled across my notes from my most recent trip to the O’Reilly and looking back upon the performance now I still wholeheartedly agree with this assessment. The O’Reilly has established itself as a challenging venue, yet the space was used with a confidence and skill that reflected well upon the thought that had gone into every step of the journey. The use of staging blocks, chairs and moving stairs were a simple and effective way to add to the space while enhancing rather than inhibiting the actors performances. Having no idea of the plot before walking into the theatre, I was not entirely sure what to expect, but from that first flawless opening number I was hooked. The use of gels to simulate the feel of being in a chapel, and the projection of stained glass situated the audience and enabled the show to establish the role of the church within the narrative. Equally, the use of simple distinguishing costume features highlighted the key players within the ensemble cast, ensuring that they were always easily identifiable within any scene. Yet, more than this, it was also an excellently executed opportunity to create a sense of personality within what would otherwise have been a sea of identical school uniforms. All of the small design choices made by the creative team worked symbiotically to establish a believable and immersive experience in what is essentially a lecture theatre.

From the slightly eerie singing in the dark, to the dance sequences, to Luke Nixon’s rap, the ever changing tempo of the musical kept the audience on the edge of their seats. Certainly, as an audience member with no idea of what to expect, I could not tear my eyes away from the hundred things that always seemed to be happening on stage at any one moment. Admittedly, the narrative drew the characters from a bad situation to worse to Jason being dead, yet somehow the darkness did not drag the audience down and a buoyant energy was maintained upon the stage. Much of this came from the cast who seamlessly carried the show from one number to another, never seeming to flag despite what was undoubtedly an exhausting couple of hours. If eyes were to stray from the main action, you would have found a multitude of things happening unnoticed. From silent talking to the interacting, the ensemble were as interesting to watch as the leads, the actors being forever aware that they were before an audience. Gianni’s steady performance as Peter was one of compelling heart, drawing the audience into the emotional centre of the tale and always ensuring our sympathy and support. In complete contrast, from the moment that Peter Todd bounded onto the stage as Jason, he exuded an energy that he was able to maintain throughout the performance. As always, his was a character to watch, Jason going on arguably more of a rollercoaster ride than many of the others. Yet, as with any good narrative, there was not simply the central romance taking place upon the stage and both Eleanor Bogie and Zoe Shum commanded the attention upon stage with as much ease as the leads. The characters of Nadia and Zoe, though polar opposites they were both skilfully performed portraits of girls and their struggles. Equally, (along with the whole excellent ensemble) Declan Ryder’s Matt and Luke Nixon’s Lucas deserve a shoutout. The latter performing a memorable rap sequence, which unfortunately wasn’t wholly audible.

The use of every section of the space was one element which was most notable about the production, from the balconies to the isle there was action in the most unusual of places. This ability to fit scenes perfectly into these various locations is one of the standout features of the show – particularly as one of these scenes included a rave upon the stairs of the isle. This broke the wall between the audience and characters in such a way as to place us in the centre of the action with the feel almost of a night at the Secret Cinema. While I personally loved this use of the O’Reilly’s features, I was also grateful that we had been given the advice to sit on the left of the auditorium. With the audience being undoubtedly packed every night, there would have been those who would have missed sections of the show (notably ‘One Kiss’) due to the inability to see. Also, there would have been those (myself at first amongst them) who would have missed the quiet and sensitive action taking place upon the stage simultaneous to the rave. I am not sure that there was any solution to this situation, as it was both an excellent idea and inhibited some audience members’ experiences. Although, perhaps in the case of Peter and Jason’s interaction during the rave, this could have been better sign posted. Otherwise, any quibbles that I have with the performance were minor and in no way detracted from the visual spectacle taking place, being simple things such as a note not quite hit in a song and technical issues with the lighting. The slight chaos during the curtain call was far more endearing than off putting – the feeling of the end of a show being familiar to many of us in the audience. Despite any minor hiccups, I was hooked and continue to be so, as I am currently listening to the soundtrack while writing this.

Within the context of the musical there was certainly no such thing as a happy ending; however, if life is lived on other stages then this was a stage worth forgoing a quiet night at home to watch. With amazingly flawless choreography and no weak link within the cast, this show left me speechless and was without a doubt the best performance I attended during Hilary Term.

Photograph by Simon Vail