VERNON GOD LITTLE

VERNON GOD LITTLE

The New Wolsey Young Company

at the Wolsey Theatre Studio, Ipswich

18.04.2012

Since winning the Booker in 2003, Pierre's dark comedy has been adapted at least twice as a theatre piece. This is the version done by Tanya Ronder for the Young Vic in 2007. Another challenging piece for Ipswich's enterprising young company – fourteen actors [age range 16 to 21], all of them involved in the music which is an integral part of the show.

Director Rob Salmon points out that gun massacres will always be topical, but this week's trial in Oslo reminds us that they are not confined to the USA – the play is set in the ironically named Texan town of Martirio. The central character, described by one critic as "Holden Caulfield on Ritalin" is thirteen in the novel.

Here, Joe Reed plays him 16 going on 17, an angry, aggresive presence, his name in lights behind the action, helpless as he finds himself framed for the High School Massacre and more.

The show begins with Jesus Navarro, the Mexican boy who flips and shoots his classmates, singing his theme song – Patsy Cline's Crazy. It's a powerful moment, and his shade is often present, bloody but unbowed, a merry spirit in Mexico, a tragic figure on Death Row, perched on the tech desk for the trial of his friend. Excellent, intense work from Jack Tricker.

Aidan Napier is the tv man, immoral and menacing, a well sustained, creepy performance. Television, reality and otherwise, is a constant in this redneck Jerry Springer world: Lally presents to camera, the lyrics of the Country Music are flashed up on the screen, which could usefully, and realistically, have been twice the size.

The young cast certainly enjoyed some of the more grotesque characters, with impressive performances from Steve Withers as, among others, an advocate with a shaky grasp of English and a Pastor, and from Jack Brett as the randy shrink Dr Goossens and Lally's blind mother.

Armonie Melville was strong as Taylor, the wasted girl who frames Vernon, and Keisha Banya brought his confused, needy Mom to frightening life.

The staging – the johns, the chairs on wheels – was ingenious, and the show was crackling with energy, with a wacky, cartoonish style which suited the story. A little more light and shade, a little less indistinct shouting, would have helped the audience follow the plot, especially in the wordy second act.

But the overall effect was infectiously enjoyable, the broad satire, the foul-mouthed fights, the moral message, the music and the manic acting adding up to a good night out for anyone, theatre-buffs or first-timers, fans of DBC Pierre or not ...

production photo: Mike Kwasniak

this piece first appeared on The Public Reviews