“The structure and story are a stroke of genius”
Editorial Rating: 3 Stars: Nae Bad
Suicide is a topic that’s difficult to talk about on all fronts. It is the biggest killer of men in the UK under the age of 50, and this alarming trend doesn’t appear to be fading away any time soon. It’s refreshing, then, that some shows at the Fringe this year approach the issue in a sensitive, accessible way, and Fragile Man is one of them.
Set on a remote hilltop at dusk we meet two men, one apparently on the verge of committing suicide and one who steps in just in time to save him. It seems like a fairly predictable set-up, yet what unfolds is an attempt at reconciling a frank discussion into the hard-hitting issue of male suicide with a thrilling dramatic play. The two sound like they shouldn’t work together, but they almost do. Almost.
While several elements of David Martin’s script are quite clunky and cliched, the overall structure and story Fragile Man follows are a stroke of genius, cleverly peeling away at the layers of the two characters to reveal a gripping and thought-provoking heart. Only in the last few minutes does it all “click” into place, and with some polishing in the sticky areas, the writing could be the basis of a really intelligent piece of theatre.
As an emotive and challenging two-man show, with a hefty amount of multi-roling, it’s a big ask from actors David Martin and Richard Miltiadis to sustain the tension for a whole hour. They make a commendable effort and absolutely give it their all, but at times both seem a bit out of their depth with the magnitude of the piece, often resorting to overly emotional responses and exchanges, when at times a more withdrawn and subtle approach would help create more contrast and power. Though for new company performing a debut piece, I should perhaps cut a little slack.
When it comes to Jacqs Graham’s direction, the physical nature and more stylised elements of the performance, while creative, sometimes feel disingenuous, not aided by the quite choppy scenes and dominating set the actors variously crawl in and out of during the transitions. For me, a simpler approach to both the direction and design would be more effective to maintain a consistent and honest feel throughout. In saying that, some of the cutaways from the main story – including the confession scene and direct address in the lecture – do work very well, flowing seamlessly and maintaining the integrity of the set-up, and it’s a shame the whole piece isn’t performed at this level.
This is an important and interesting play, which, if not quite worth shouting about, should, like the subject it addresses, at least be talked about far and wide.
Reviewer: Steve Griffin (Seen 22 August)
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