“Provokes incredulity, fascination, and applause”
It’s brownfield land with serious history in central Manchester. It’s a Metrolink tram stop. It’s also Alistair McDowall’s award winning play set in a ‘hole in the middle of the city’ – ‘hole’ as in a rank pit. Pomona (2014) provokes incredulity, fascination, and applause. Without the applause you’d have a WTF play, so it’s a risky business doing this one.
All credit, therefore, to Edinburgh University’s Theatre Paradok for taking Pomona on and finding the perfect venue in Summerhall’s Demonstration Room. The fairy lights on the approach are a fortuitous joke. Little could be less seasonal than the bare grey walls, tiered wooden seating, electrical trunking and peeling paint. As the play requires a ‘concrete island’ in amongst ‘cracked asphalt and weeds’ we’re all set. Not forgetting the open box of cold chicken nuggets and the octopus monster mask.
Ollie (Lauren Robinson) meets zany Zeppo (Oliver Beaumont at stunning top speed). They could be at the tram stop. You might consider a post-apocalyptic situation, with The Road re-surfaced as the M60 Ring, but, no, property is still owned – much of it by Zeppo – and there’s odd but respectful mention of the police. Still, Ollie does not want police help to find her sister. Directions to the likeliest neighbourhood will do. That’ll be to creepy Pomona Strand then.
Indirection more like. For the play twists and turns and the different characters come and go within a looping time frame. Rubik cubes befuddle and provide a handy metaphor for the mixed-up story. It is puzzling but it is doable. There’s Moe (Liam Bradbury) who has had it with people, mainly because he beats them up for a living. There’s Fay (Abi Ahmadzadeh), a sex worker, whose husband hurt her and their child. Moe and Fay share a rare tender moment. Then Fay steals a laptop and valuable data from overseer Gale (Megan Lambie), but it’s all to the good, despite the ‘Kill’ order on Fay’s head. One figure, Keaton (Eilidh Northridge), seems to have the presence to sort it all out but she could just as well be a character out of Charlie’s (Tom Hindle) role playing game box. Charlie really is a bit of a droll card, complete with wacky, sticky fantasy and roaring daftness as and when the dice roll. Zeppo’s back at the close, but this time as a vengeful seagull.
For all his interest in, and skill at, spiel and character McDowall does supply an explanation of what’s going on inside the security fence on the ‘island’ and it’s gross and melodramatic and sensibly left unexplored; no doubt contributing to Moe’s feeling that he’s ‘drowning in an ocean of piss’.
Pomona is fitful and outlandish with no comfortable ‘Home’ for Ollie to navigate to, which very probably explains its appeal to a student audience, who loved its waywardness. Tom Whiston, Director, and Madeleine Flint, Movement Director, work the play with a stylish and disciplined assurance that is easy to underestimate and the cast respond in kind. Personally, I’d rather have Springsteen’s Darkness on the Edge of Town as music to leave by but that was 1978 and students have moved onto more uncertain and contemporary ground. Go occupy.
Reviewer: Alan Brown (Seen 22 November)
Go to Theatre Paradok on Facebook
Visit Edinburgh49 at the Summerhall archive.