Sunny Side Up - A Review

Last night I saw my friend's play, Sunny Side Up and it was one of the most marvelous things I've ever seen in my life. I woke up thinking about it, and all day I've been strolling around on a literary high, because I feel as if it has set something off in my brain.

I also wrote a review. Now, I write, but I am terrible at non-fiction, generally. So, this doesn't make as much sense as it should. But I'll post it anyway.

I'm terribly upset that they've (almost) sold out their run, even though that's amazing, because I want to take a whole lot of people to see it, and now I can't. Curses. Well, I suppose that's what live theatre is all about, isn't it?

Here it is (and I've stolen their promo shot from their website - does anyone know who I took it so that I can credit it properly?):



Sample Theatre’s production of Kerith Manderson-Galvin’s debut play is bloody, bold and intense; a tidily-woven nest of metaphors with layer upon layer of deep, frightening symbolism. The performance is an exploration of the unbalanced, of familial power-structures. We are presented with a leering, darkly patriarchal lead in Ken, played consummately by Conor Gallacher. We are shown what it is to be taken under a commanding wing, and we are also shown the impossibility of leaving a tumultuous and sanguine nest.

Director Bridget Gallacher has given shape to a resonate study of oppression and terror - the performance easily plunges to violent and beautiful depths, and has excelled with an adroit cast - Genevieve Callaghan soars as the innocent and devoted Bertie, a role given full compliment by Jacqui Swallow’s brilliantly depicted Sloan. Conor Gallacher’s Ken recalls a male reflection of Euripides’ Medea - a character unafraid to participate in vile and bloody acts; nor is the audience shielded from this throughout the performance.

Costuming by Hannah Cuthbertson deserves reams of applause - the actors are garbed in striking and lush style, each character emblazoned in a unique and decadent fashion - Ken in particular stood out with a magnificent cape of raven-feathers.

The shadowy, atmospheric score begins with beautiful, harmonic vocals, which later give way to twisting grinds of cello, including sections of what is reputedly the result of bowing across a birdcage with a microphone perched inside. Threaded throughout the performance are a series of near-whimsical melodies composed by the masterful Matthew Lorenzon, largely in response to the note-perfect music chosen by Bridget Gallacher.

Sunny Side Up is dark, complex and rich, with all elements of the performance giving compliment to what is sure to be the first in an exciting run of plays by acclaimed new writer, Kerith Manderson-Galvin.