Presented by Next Stage Theatre Company
Tuesday 26th - Saturday 30th November 2024 7:30pm
Matinee Saturday 30th November 2024 2:00pm
Monster: I have come to get you, Conor O'Malley.
Conor: So come and get me then
Monster: What did you say?!
Conor: I said, come and get me then.
Conor has been haunted by a recurring dream every night since his mum fell ill. But now, something else is haunting Conor – something wild, powerful, and unpredictable. There's a monster at Conor's window and it wants the truth from him.
The monster's stories and Conor's life start to intertwine like the roots of the old yew tree that overlooks the house, but as his mum's illness takes hold, Conor faces trouble at school and strained family ties. Nothing however, not even the monster, is as devastating as the reality on the horizon that Conor must confront.
A Monster Calls is a tale full of love, loss and hope, sensitively blending themes of bullying and terminal illness with imaginative storytelling and will be an unforgettable Bath premiere to conclude Next Stage's 30th birthday year.
Directed by Alexa Garner and featuring Fin Hancorn as Conor and Nicky Wilkins as The Monster this play will be performed by members of Next Stage's adult and youth companies.
“Stories are the wildest things of all!” - Don't miss the chance to see this one.
A Monster Calls is recommended for those aged 11 and up.
Based on a novel by PATRICK NESS, inspired by an original idea by SIOBHAN DOWD, devised by SALLY COOKSON, ADAM PECK and THE COMPANY (BRISTOL OLD VIC).
Cast
Rehearsal Images
Reviews
Ian Diddams - Devizine
When is a Monster not a Monster? When is a good person not good? When is a bad person not bad? When is wisdom not positive? When is being invisible a terrible thing? What is the truth?
Bristol Old Vic took Patrick Ness’ novel “A Monster Calls”, based on an idea of Siobhan Dowd, and with the help of Adam Peck created this quasi-fantasy tale of an adolescent coming to terms with teenage angst, awakenings and the complex realities of the adult world. Whilst not harnessing Sondheim (“Into The Woods”), Wilde (“The Picture of Dorian Gray”) and Shakespeare (Macbeth’s witches) nonetheless tiny elements share some areas of those three… but more of that later…
“Next Stage Theatre Company” perform this powerful story of growing up this week at The Mission Theatre, Bath, in the round. A cast of eleven mixed youth and adults form the principal and secondary characters and general ensemble Greek chorus style seamlessly. Directed by Alexa Garner she has carefully crafted this beautiful tale into the powerful vehicle that intensifies its emotions as the play progresses. It is a simplistic play at face value – young teen faces bullying, adult repression, nightmares, and the worst scenario imaginable at such a youthful age and eventually learns the solution to dealing with life. In this regard the youth orientated novel by Ness is quite clear – but its more than just teenage angst. This is a play of onion skins, where if desired peeling away each layer reveals more and more philosophical and at times disturbing facts – possibly about oneself….
A Monster Calls by Patrick Ness
Next Stage Theatre Company, directed by Alexa Garner
Tuesday 26th November 2024
Review by Rebecca Beard.
Not a monster (I hope) but I paid a call to the delightful Mission Theatre this week to see the Next Stage Theatre Company production of A Monster Calls. Based on the poignant story of the same name by Patrick Ness, this moving adaptation amazed the London theatre-going crowd when it premiered in 2018. As ever, a warm welcome awaited me, and I had a strong feeling that I would not be disappointed. The high production values, attention to detail, and reputation for fearlessness in tackling the more interesting plays that many amateur groups tend to neglect are all features of this group.
Humans are complicated beasts. So says the Monster, the Yew Tree Green Man, played superbly by Nicky Wilkins who brought a compelling otherworldliness to the part. Despite the mysticism, this is a very human story. Death comes to us all. None of us are special enough to avoid it, yet how we deal with it matters to us all at some point. Through Conor's terminally ill mother, we explore our own complicated relationship with the undiscovered country from whose bourn no traveller returns.
Alexa Garner's direction drew us in to scenes that sensibly eschewed realism but felt incredibly real. Simple set pieces and props instantly created the scenes with small costume markers to guide us. Her direction came across as confident and light of touch, and intelligent staging decisions complemented the action and emotional state of the characters. It suggested rather than explicitly explained and encouraged the audience to flesh it out. Her strong roots in the group were evident; the apple doesn't fall far from the tree.
Stories are important and they carry the truth. This story about stories showed us the dichotomy that stories are fictional but can contain not only universal truths but also conflicting messages about those complicated humans. Conor's journey from teenage insouciance to his final understanding of the comforting lies and painful truths with which he has tormented himself was sensitively portrayed by Fin Hancorn. He effortlessly moved between a series of complicated relationships with family and school, the most touching of which was with his mother. A great supporting cast, excellent in their cameo roles, also served as a Greek drama-style chorus (I particularly liked the nightmare scenes and the telling of the time) and they interacted brilliantly to move the story in both time, space and atmosphere. Believable personas all, and so well acted right down to the tiny details and inflections which show investment in the process of building characters. This always comes across when the company truly inhabit the source material.
The fables or parables told by the Monster blended seamlessly into the play and were skilfully brought to life, full of religious symbolism, both pagan and Christian (the final tableau was reminiscent of renaissance paintings of the deposition from the cross). Subtle lighting and well-chosen music enhanced this, with the attention to detail and creative touches which we've come to expect from Next Stage. This was an ensemble piece, but credit must be given to Nicky and Fin for delivering consistent performances, Fin in particular for the emotional depth he brought to his character and his journey. The ending was so moving that its impact could be felt resonating through audience members long after the final bows.
This was not an easy play to watch, but a very necessary one in our interesting times. With the imminent reading of the assisted dying bill and the rumblings of war, this play could not be more timely. It reminds us that life is short, often challenging, full of difficult choices, dotted with moments of joy and pain, and leaves us with memories to treasure. Life is what we make it. It is also infinitely precious and should never be taken for granted.
