John Straiton’s new play was longlisted for the prestigious Bruntwood prize and it’s a great piece of writing: thoughtfully sculpted, and punctuated by startling lyrical sections and striking observations. It’s a clever work clearly written by a theatre fan who revels in the endless possibilities that language, and specifically language in the theatre, affords. Yet, for all the intelligence and imagination on display here, the very best aspect of Straiton’s script is the easy dialogue between its two male leads – funny, full of life and humming with feeling.
There are tinges of Godot in this two-hander about an angry old man and lost young student trapped on the edges of life, looking in. Colin Hurley is a brilliant bundle of spitting energy as the definitely drunken and possibly homeless old man Euston, who hops about on two crutches yet feels perpetually in motion. It’s a wonderful character, with hints of Jez Butterworth’s Rooster but entirely original. George Rowlands makes his professional debut – and what a debut – as squeaky-clean student Boy, who is obsessed with bees, in love with learning and brimming with fury and sorrow about the death of his dad.
We’re also shown jet-black glimpses of other lonely lives playing out across this un-named north London estate. Director Philip Wilson keeps things loose yet still sharp as we jump from one intense scene to the next: an abusive husband and his wife, a blind man and his old dog and even a swarm of bees burst into life and then disappear in a flash. The play does start to feel weighed down by its vast scope and ambition but there’s heaps to admire here and I’m buzzing to see what (new) new writing theatre company Bee Jar come up with next.
The Boy With the Bee Jar is at Hope theatre, London, until 17 July.
