A Review of Pigeon Wing Productions’ Best of Five

Week Five of this term has become characterised in my mind as something of an autistic theatre week, with audiences being presented with more than just one rare depiction of neurodivergence. In the case of James Morrell’s Best of Five, this was the depiction of the challenges of connection and navigating the subtext of relationships. While there were conflicting opinions in the wider Oxford Drama community, this play touched a range of people; accurately depicting their experiences. Best of Five tells the story of Pip, a university student who over the course of the play navigates four potential relationships while also reminiscing on his past love. A whirlwind tour of awkward interactions, this play took advantage of the large performance space on offer in Keble’s O’Reilly with a fairly large cast and a good use of the various parts of the theatre. With frequent use of the side balcony and steps, not to mention a visible string quartet led by Musical Director Dan Savage, this was a play that was clearly written with this particular space in mind.

On the topic of the music, the score was cleverly by composed by Morrell, adding a beautiful layer to the performance and playing to the music student’s strengths. Given the nature of the instruments there was not the usual challenge of actors battling their accompaniment, but unfortunately there were still projection issues in places – not helped by Wally McCabe’s loss of voice. Despite these challenges and some cues that were slightly off, the relationships between the characters were still explored effectively. While the various love interests were only fleetingly present on stage, the role of Sasha Ivanova’s Max as confidant and best friend of the protagonist was well portrayed, the relationship being as sweet as their setting amongst blankets and soft toys. Of course, it would be remiss to not mention that the script included not one but two Pips, with the younger being played by Edgar Viola. Young Pip’s occasional appearance allowed us to gain an insight into Pip’s past – the romanticised past in which things went right for him. Viola’s performance was emotional and at times volatile, always being a delight to witness as he captured youth successfully. The standout part of the actor’s performance was undeniably the dance between his character and Rebecca Harper’s Josie at the beginning of the second half. Choreographed by Grace Gordon, this was a beautiful and moving piece of simple contemporary performance that set the scene perfectly for the relationship.

This play left some questioning what they would say if they met their younger selves, and others questioning their own relationships. While the show felt in places like it didn’t quite hit what it sought to achieve, there is the hope that at least some neurotypical audience members learnt a little about the neurodivergent perspective and are able to go forward with more empathy and awareness. It was a bold and brave performance, a laying bare of situations, and held in it the kernel of something powerful and thought provoking. With some good performances, a good use of epilogue and a technical ambition, this was a play that made me glad that someone had put into words the challenges of a life when you aren’t quite ordinary and displayed the bravery needed to write something that you are letting loose into the world for everyone to judge.