From Beyond the End at Studio Theatre, Salisbury Review
Written by Charlotte for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
This production contained strong language, adult themes, murder, physical violence, discussion of death, discussion of rape and sexual violence, blood, sexism, and alcohol abuse.
In a theatre climate where big budget West End and Broadway shows almost completely take over the limelight, it can be difficult for new or smaller companies to gain traction. So when a brand new company comes along and smashes their debut show out of the park with tight, smart, and hilarious writing and a ridiculous amount of acting talent, they quickly become one to watch.
Introducing Lamp Light Theatre Company: a brand new group of graduates who have come together to champion new writing for our generation. Their debut show, From Beyond the End, is an anthology of five new short plays impressively written by, directed by, and starring Emma McAllister, Philipp Nikolin, George Bird, Eloise Thody, and Frank Cawley. They explore themes of heritage, human existence, the afterlife, and what’s left behind once we’re gone.
Journey Home, written by Emma McAllister: This monologue piece is about a woman whose mother has died and has written her final wishes in a letter for her daughter to fulfil. It covers the theme of identity in a couple of different ways: the main character’s identity as a young woman on the internet, whose main metric for success in life is how much engagement she gets from strangers, positive or otherwise; but also her identity in terms of where she lives now and where she’s from, and how those lives can be so completely separate from each other. This was my favourite piece out of the five — not only because I’m a sucker for a one-person show, but also because the central character is so impeccably performed by McAllister in a way that leaves you teetering between laughing at her, laughing with her, or feeling sorry for her and the unfortunate situation that she’s ended up in.
Curse in Green and Pleasant Land, written by Philipp Nikolin: The story stems from Salisbury’s own era of witch trials in the 1600s, as well as those in other local areas like Malmesbury. The piece takes place over multiple points over several years as we watch a relationship unfold between a modern woman called Elizabeth and William, a young priest – the setting alternates between their time as they get to know each other and influence each other, and the current point in time in which William is interrogating Elizabeth for witchcraft. How did they get to that point? It’s an intelligently crafted piece that explores how people influence each other, 17th century values, and the ways in which women were treated during that time.
Roman Roads, written by Frank Cawley: This play begins with a young woman returning from her travels across Europe, and a fun, bubbly moment when she’s reunited with her mum quickly descends into an argument over a question her mum doesn’t want to answer about her daughter’s past. Six months later, they’re brought together again having not spoken since her return, and they clear the air once and for all when her mum finally reveals her long-held secrets. It’s an intriguing, fascinating insight into how memories related to shame and difficult experiences can become increasingly difficult to dredge up, but why it’s so important that they aren't left to fester and ruin what really matters: a slightly dysfunctional but solid and genuine family bond.
Tigerlily, written by Eloise Thody: A glimpse into the relationship between two sisters – Eve who is going off to university in London, and her older sister Max who already lives in London not far from where she’s studying. It’s a dark story that touches on the theme of violence against women, and is sure to leave you with a lump in your throat and a feeling that you want to go home and call all of your women friends to make sure they’re okay.
Maybe., written by George Bird: This is a story of a young woman called Effie who has a chaotically anxious mind; it’s about how someone can often make things feel too real in their head, and in Effie’s case, they quite literally come to life. It’s a comedic ghost story full of absurd twists that also deals with themes of anxiety, death and trauma… surprisingly a lot to tackle in one short play, but it does it well! It had me laughing non-stop, from McAllister’s incredibly funny portrayal of Bin Man to the bizarre ending that makes you say, “you really just have to see it for yourself.”
It’s so impressive to see what five writers and actors can do with only a relatively short amount of time to tell each story, and a very minimal set that moulds to fit each unique setting. For a debut show, it felt fresh and exciting, and absolutely bursting with talent.
From Beyond the End was a limited run of two dates each in Kentish Town and Salisbury, but I’m sure the short introductory run has garnered Lamp Light Theatre Company a dedicated following that will be keeping a beady eye on what comes next. Whatever it is, I will be there, and you should too!
To keep up to date with Lamp Light Theatre Company, you can follow them on Instagram.
