An overview of the first two days of the festival, as seen by Lydia Thomson.

“Look at this place.  What a mess.” 

- Scene 10, ‘Coal’ by Robert Holman.

Robert Holman introduced the reading of his play on Tuesday evening by openly saying that he could not even remember his twenty-year old self writing ‘Coal’.  He said that when Fred Proud asked him to write a piece for the Soho Poly he had no idea where to start; he stumbled into the theatre and thought it was something quite like a coal mine, and though he knew next to nothing about mining, this image is what spurred the set for the play that would be staged in this theatre.  Holman quipped how funny it is that these sorts of things come back to haunt you.  He never thought he would have the pleasure of introducing his own work and with that, He humbly stepped into the dressing room and gave his thanks to the actors before taking a seat to watch the performance.

            The reading was the first I had seen of the play.  It was the first time I had seen a play performed as a reading, and I was amazed at the extent to which Amy Mulholland’s direction evoked an environment beyond the seven actors sat on chairs.  And actually, the walls of the space that we cursed for being so hard to paint were the perfect backdrop to the sound of dripping water in the mine, an effect excellently pitched by Craig Barrett.  Amy administered a cool awareness of the atmosphere and emotional depth of the text which brought the story to the fore, allowing it to thrive off the intimate proximities of the theatre.

            I was moved by the production.  Suddenly it was clear how much the basement deserves to be a stage and after today’s performances from The Miniaturists, my view has only been reinforced.  In correspondences with Matt and Ben I had always referred to the space as the basement, now it is the ‘Soho Poly’ or the ‘Theatre’.  This shift has come from it being filled with such artistic integrity, imagination and appreciation for its potential.  Our stained grey carpet has thus far been the floor of a coal mine, a University lecturer’s classroom (Well Made Life); the London streets leading to St Paul’s Cathedral (Burger Burger Death Burger) and a hotel room (Manchester).

            These three plays from the Miniaturists were just excellent.  Each was rich with intelligent comedy and probing questions asked by the 21^st Century human being.  The actors communicated their text with great honesty and naturalism, entertaining the audience to the point of clasping their faces with laughter.  I was lucky enough to see their rehearsal this afternoon and as a result, witness a portion of Sophie Motley’s brilliant direction that pulled the pieces towards the productions we enjoyed today.  She created, seemingly effortlessly, something quite masterful.  I decided that the Miniaturists themselves are just great, and particularly in light of Stephen Sharkey’s post about the background of the group, were a perfect choice of company to join this festival.

            This afternoon also brought the panel discussion from members of the Soho Theatre, in which we discussed the world of new writing.  I’ll admit, I rose from my seat feeling that the state of theatre in general is rather bleak, largely because money, politics and health and safety are too keen to get involved.  Tim Pritchett, Orion Lee and I talked outside after the event and begged, what is wrong with simply clutching hold of a group of actors, putting them in a space and telling them to improvise a play?

            But before I rant too furtively on this topic, I will simply conclude that this is the effect of the Soho Poly.  It inspires and thrives off creation.  I feel like it is learning to move again like a muscle that has atrophied over the past 40 years, strong with the memories it holds.  It’s a historical place, nodding and smiling with each memory someone tells of it.  Such anthropomorphism prompts me to become dangerously attached to the space, I really hope we don't lose it as a theatre.

In the meantime, wish us luck for tomorrow! 

(By the way, some tickets are still available for the discussion on 'Theatre Then and Now' and for the performance of David Edgar's 'Baby Love'.)

Lydia.