Writer & Director: Melanie Allison
Original Score: Matty Thomas Taylor
Cast: Conor Maxwell, Kelsey Toombs, Caroline Waugh, Chanelle Harrison, Ray Powell, Sam Armstrong and Wren Boyer
Award winning playwright Melanie Allison's newest work Lovecats premiered at The Meteor on Tuesday night. This sci-fi play is set in the dystopian future of 2050 at the Records and Rehabilitation Centre, a high security office and alternative to jail for criminals. Employees are tasked with digitising endless paper records.
The three main characters Kyle, Jo and Sam are at various stages of coming to terms with their choices that lead to a mundane life in a facility ruled by AI.
The set was monochromatic with only occasional splashes of colour introduced. Above the set was a large screen onto which the instructions of the AI robot Fred were communicated along with black and white footage of the inmates backstories. The film noir-esque style flashbacks were well shot with good angles and perspectives.
Conor Maxwell (Kyle), Kelsey Toombs (Sam) and Caroline Waugh (Jo) unpacked their character’s existence and backstories competently. Behind the scenes Chanelle Harrison voiced Fred. The production was so slick that it appeared as both Fred and the music were pre-recorded and the technician was managing hundreds of cues. Voice projection was lacking in some of the more intimate moments, and just throwing it vocally a bit more would have been appreciated.
Shout out to Matty Thomas Taylor. The soundscape was a real highlight giving gravitas to the action and occasional light relief. The melodies and incidental music perfectly complimented the play in style, tone and volume.
Melanie Allison’s real talent lies in writing humour that was easily delivered by the actors on stage and screen. Ray Powell (Archilles) was a standout with his comedic timing and multifaceted performance.
Personally, I would have called the play “Sentences” in reference to the crimes committed and also the paperwork they were reading. The title Lovecats was a more obscure choice related to Kyle’s career pre-incarceration. In terms of timing, the first half was protracted whereas the second half was over in a jiffy. Either running the 3 acts together, editing Acts 1 and 2 , or extending Act 3 would have ensured a more balanced product.
All in all, Lovecats was an interesting piece whose multimedia delivery was fully embraced thanks to clever production, sound, set and lighting design. The team also get a big tick for providing a programme. Without it many important cogs in the wheel in respect of extensive pre-production work would have gone unacknowledged.
Lovecats runs at The Meteor until Saturday 29 July 2023 with 7pm performances.
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