Theatre is a place where the taboos of society are brought into the spotlight. In these almost sacred spaces shared by performer and audience, we can examine the things that are most uncomfortable or painful about our lives, or reveal parts of our history or cultural experience that have been forgotten or concealed. Theatre can be a great place of learning, about ourselves and about the world we live in, but most of all it can teach us to be compassionate as we view the world through another’s eyes and see how that world is shaped by their experience which may differ from our own. At least, this is what I believe, and certainly this new show from Black Hound Productions demands rightful compassion from its audience.
Written by Patrick Withey and performed by Dillon Berry, Alright? follows the story of Noah, a young man in his mid-teens who, while facing the stress of secondary school exams and the inevitable awkward encounters of teenage-hood, has been struggling with depression. With clever direction from Benjamin Hardy-Phillips, this solo show explores Noah’s struggles with his mental health through his interactions with the important figures in his life, highlighting the unprejudiced nature of depression, for even when a person is surrounded by friends and loved ones we can still feel lost in our own emotions.
Indeed, the power of this piece lies in the handling of what can be an incredibly heavy subject matter. While there is a tendency for pieces concerned with mental health and depression to fall into the realms of melodrama, Alright? walks the fine line between tragedy and comedy with focused care. Withey’s writing brings both shades of light and dark to Noah’s life as moments of levity allow for the bleaker moments in the script to become even more enhanced. There is a natural wit to Withey’s writing which Berry brings to life with skilled ease.
It is refreshing to see a piece about male mental health that does not devolve into violence. So often, narratives around mental health and masculinity become narratives about the worst excesses of these experiences. Indeed, recent films like Joker have been hijacked by the narrative of the white male malcontent resorting to acts of violence as a result of their frustrations. In reality, sufferers of mental illness are more likely to be victims of violence as opposed to perpetrators, yet while anger and frustration are key themes in this piece, there is little to no involvement of violence. More often than not, those of us who are impacted by mental illness will not have some dramatic occurrence happen to us; our mental illness is part of our every day reality and while it may evoke intense feelings or indeed, a lack of them, our world does not always descend into chaos. Alright? portrays the mundane nature of depression beautifully, whilst also highlighting the importance of having a support network. In a world where funding for mental health treatment is being slashed, this is perhaps the most important message that Alright? gives its audience – the importance of asking the right questions, checking in with someone and listening to them. While it isn’t a substitute for treatment, it is, as Noah’s final speech states, better to listen to a person express their difficulties than to listen to their eulogy.
While the final act of this show needs a little more focusing, this is a very moving and powerful piece of theatre. To see young men being given the space to show their vulnerability without the usual trappings of toxic masculinity is what makes this a unique piece of writing and makes it more than deserving of many future performances.
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