We all have that one song or even a full
album that inexplicably triggers a high level of neural activity,
sufficient to recall a package of memories good and bad around those
melodies.
Friendships, breakups, that first dance.,
sometimes it’s not even a lyric but the beat of an introduction that’s
enough to divert you out of your daily routine and redirect you to
memory lane.
It’s that notion which is central to Anna
Jordan’s new play POP Music . It’s a colourful positive departure from
her previous works like the darkly violent Yen. Conceived with director
James Grieve the play came to into being from their conversations about
the power of the soundtrack of their lives.
Pop music is the result, a night feverish, set to
the beat, conversation of two people, re discovering their past
associations on an empty dancefloor at their friend’s wedding reception.
Katherine Kotz plays Kayla, the former full on
party girl, struggling now with her mundane life in sales and recounting
her heady days of nights out clubbing, getting drunk, turning boys into
men and now forever in search of relighting that fire in her life.
So much so that her boring married life has led
to a string of empty one night stands, a zest for excitement which has
left her single again.
Kotz plays the character with passion and
intensity .Jordan though has written her peppered with profanity which
all felt like a cheap shot at ramping up the impact of this very
likeable character.
Rakesh Boury is G, her dance partner and he is
still carrying the scars of school bullying of which it is revealed that
Kayla has been a willing part of but she no longer recognises him or
remembers her deeds.
G has returned to the town from London after a
failed relationship and although he has managed to follow his musical
aspirations to the big city, his need to care for a sick family member
is the real reason he has come home.
As the DJ drops yet another pop classic they
dance, enthuse, recall and debate the power of pop music, their
respective love for it and the effects it has had on their lives.
The concept of the play is engaging but at times
technically fraught. In the want to make the play more accessible Ciaran
Alexander Stewart is Remix a third none character who signs the
production. He also becomes a crucial part of the many dance routines
and whilst being a valid addition his presence visually distils the
sense of just two people left at the party. Then there’s the music,
obviously a crucial element but often louder than the actors.
For this reason it helps that the play is also
surtitled, but while you are keeping up with the clever rap like
dialogue on the screen you can at times be missing some of the great
action in front of you.
It’s only after we get past the presentation of
the idea of the soundtracks of our lives and begin to find out the truth
about G and Kayla where the play really starts to take hold. G’s
recollection of his mother is a poignant moment and a turning point in
their empathy for one another.
Pop Music is packed with a ton of Dancefloor hits
and when one arrives that is your own favourite the dialogue hits home
harder than the beat.It’s
performed with energy and a level of enthusiasm that will leave feeling
like you want to get up and dance with somebody.
To 22-09-18
