The Wall

Borderline Theatre Company
in association with The Tron Theatre


Kirstin McLean as Michelle in The Wall. Photo: Douglas Robertson
Somewhere in Stewarton, during the summer holidays, four teenagers socialise, philosophise, fall in love and discover that parents and teachers are fallible.
In the hands of many writers, this would be mere teenage-angst stuff, full of tediously stale ideas. In the hands of D.C. Jackson, The Wall becomes compelling theatre.

"Full of clever
moments that
are both funny
and moving"

Jackson’s script is full of clever moments that are both funny and moving. Most importantly, he accomplishes what most writers fail to achieve: to create three-dimensional teenaged characters that the audience empathise with.
The play’s action centres around Barry (Scott Hoatson), who falls for fellow classmate Michelle (Kirstin McLean), argues with sister Norma (Sally Reid) and ‘chill-axes’ with mate Rab (Finn den Hertog). All four performances are stellar, both individually and as an ensemble. Watching Barry and Michelle flirt and fall in love is heartbreaking, and Norma’s feeble attempts at covering up a moment’s foolishness while still playing the nurturing younger sister brings forth some of the productions strongest moments. But it is Rab, the self-proclaimed ‘bam’, who holds all the cards with his humorous wind-ups and philosophies on life.
The script is, however, not perfect. Whereas the first act celebrates the banality and ordinariness of these characters and their lives, the second act moves into melodrama and soap-opera territory by introducing plot threads that are ridiculous at best. It’s a shame that Jackson felt the need to do this as it counters the very realistic world of the first act. That the second act feels as fresh as the first is down to the top-notch performances and consistently witty banter throughout the play.
Kudos must also go to director Gregory Thompson and designers Becky Minto (set) and Elizabeth Powell (light) for finding numerous ways of making the solitary location of a wall on a bed of grass consistently fresh. Thompson especially has managed to create a production that never falters in pace, keeping the action constant and allowing the audience to actively engage in the lives of all four teenagers.
With its charismatic characters, The Wall is a very entertaining and satisfying production that overcomes any shortcomings.

Michael Cox

Until March 8 2008 at Tron Theatre, Glasgow. Tel: 0141 552 4267.

March 11 2008, Rutherglen Town Hall, March 12 2008, Brunton Theatre, Musselburgh, March 13 2008, Falkirk Town Hall, March 14 2008, Greenock Arts Guild, March 15 2008, Carnegie Hall, Dunfermline, March 17 2008, Motherwell Civic Theatre, March 18 2008, Regal Community Theatre, Bathgate, March 19 2008, The Ryan Centre, Stranraer, March 20 2008, Macrobert, University Of Stirling, March 22 2008, Harbour Arts Centre, Irvine, March 24-25 2008, Eden Court Theatre, Inverness, March 27 2008, Lochside Theatre, Castle Douglas, March 28 2008, Cumbernauld Theatre, March 29 2008, Palace Theatre, Kilmarnock, April 2 2008, Eastwood Theatre, Giffnock, April 3-5 2008, Byre Theatre, St Andrews, April 10-12 2008, Dundee Rep.

www.borderlinetheatre.co.uk

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User comments

Alison:
"I would love to see this production but it has not played many dates in the East of Scotland. Are there any plans to visit Edinburgh?"

What the papers said:

The Guardian:
**** "The Wall has a lightweight charm that would seem disposable were it not for the deeper seam that newcomer Jackson gradually exposes... As confident as it is funny, it promises great things from this writer."

The Herald:
**** "Gregory Thompson's increasingly confident production drags Borderline into the 21st century. It remains wilfully charming, but is shot through with near throwaway insights"

Metro:
**** "Director Gregory Thompson provides a safe pair of hands... Very, very funny"

The Scotsman:
**** "Roars out on a surge of fierce comic and dramatic energy that never lets up, through two hours of solid-gold banter and perfectly structured narrative development. "

Sunday Herald:
** "Feels like a short sketch stretched well beyond breaking point. The key elements in the plot... are introduced with a heavy-handedness that renders the play predictable."

The Times:
**** "Scott Hoatson, Kirstin McLean, Finn den Hertog and, best of all, Sally Reid as Norma, are all first-rate in Gregory Thompson's nicely judged production for Borderline."

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