Whereas Chichester Festival Theatre should most definitely be applauded for
stretching its artistic remit with the construction of the temporary Theatre on
the Fly to give it a much-needed shot in the arm of contemporary drama, it
could still do with a look at the scheduling. By putting shows on at 8pm,
especially ones which run for nearly 2 hours 30 minutes, they’ve instantly
nixed any chance of people coming to see it via public transport unless they
make it to a matinée performance. As it was, I was headed this way(ish) en
route to Brighton Pride and I love me some Cush Jumbo so I was willing to make
the effort to see Penelope Skinner’s latest play Fred’s Diner.
Fred’s is a 50s-themed motorway restaurant, a failing slice of Americana in the
West Midlands in which acts as a cul-de-sac for troubled souls. On the staff, Heather
is an ex-con desperate for the opportunity to prove herself, Chloe’s a bit of a
drifter even at 30, work-shy and only really there to pay off her debts and the
bills from her late ‘gap-year’ to Thailand, and Melissa dreams of studying law
at Oxford. But Melissa is the daughter of Fred, and as the play evolves, we see
the horribly tense dynamic that exists between father and daughter and realise
how trapped all the women, but particularly Melissa, are beneath their matching
uniforms.
Skinner’s skill as a dramatist is undeniable –
The Village Bike proved that –
but Fred’s Diner doesn’t quite live up to that mark. The play rarely flows as
naturally as it should, each character pointedly gets their opportunity to tell
their back-story which lends a contrived feel, the foreshadowing of later
events is almost criminally heavy-handed. What saves it though, is a keen ear
for the type of dialogue that genuinely constructs and enriches character and
the kind of actors who can deliver this with conviction.
Cush Jumbo as the conflicted Melissa best exemplifies this here with a
powerfully moving performance which captures the agonising struggle in her
life, but Olivia Poulet’s comically selfish Chloe and Tracey Wilkinson’s
painful sincerity as Heather, always trying to make amends for her past yet
never quite getting there, is excellently done. Andrew D Edwards’ design looks
great in the space and Tim Hoare’s production is cleverly pitched to deal with
the dramatic shortcomings and pulling out such great performances from his cast. So worth the trip in the end, but I ask CFT to think about the scheduling if they do something similar next year (which they totally should.)
Running time: 2 hours 25 minutes (with interval)
Booking until 2nd September
Labels: CFT, Cush Jumbo, Laurence Dobiesz, Olivia Poulet, Paul Hickey, Penelope Skinner, Raad Rawi, Tracey Wilkinson