“Current and compelling”
Becs is leader of the opposition party in Scotland, and first choice of its head honchos to take over as party leader at Westminster (with a good chance of becoming Prime Minister at the next general election). But when opportunity knocks, she’s got to act quickly, and what unfolds is the story of how Becs reaches her decision to follow her dream to lead the country – or not. She must consider her mother’s degenerative disease, her children (one of which is fostered), her best friend’s family breakdown, and the fact that she’s single – wouldn’t having a partner make her so much more electable?
The themes and issues presented in skirt are very current, and it’s compelling to see how the various conflicting interests might be resolved in today’s social climate. The overt opinions of her political colleagues elicit their fair share of gasps and giggles, though her personal politics and views are barely mentioned – that’s not what’s important here. Indeed, the wider discussion of the piece is about choice and the power we (especially women) have over our own destiny.
While Becs’s is the primary storyline within the play, the main scene (which makes up the bulk of the 90 minutes running time) is a birthday party for one of her friends, attended by a host of characters who all share their personal woes. Throughout this scene it’s quite challenging to keep on top of who everybody is, how they are related, and how their story connects to the main narrative. Some interesting scenarios and tensions are shared, but as the characters leave one by one, it feels like there are many loose ends still to be tied up.
Indeed, what’s most frustrating about this performance is how many extraneous branches and avenues Claire Wood’s script attempts to sidle along simultaneously – for me there are simply too many characters and threads running through the piece detracting from the most important one, which could be expanded to give more depth and tension to the dilemma faced by the central character. There’s a lot of excess chat, meaning that important decisions and revelations come about far too quickly to be wholly believable.
From a performance perspective, it’s a tough ask for Helen Goldie as the leading lady to cut through the very busy scenes – especially early on – but in the quieter moments and political meetings she comes across as very natural and personable, carefully balancing sensitivity with authority. In addition, Leanne Bell impresses as moody teenager Bea, Gregor Haddow brings a pleasing calmness to proceedings as Toby, while Dan Sutton is wonderfully repugnant as politician TM.
Overall, it’s really encouraging to see a new piece of feminist writing on this topic being developed in Edinburgh, and while this version isn’t perfect, there is so so much potential for it to become a powerful piece worthy of large audiences. I hope this isn’t the last we see of it.
Reviewer: Steve Griffin (Seen 9 August)