A Stroke of Genius

Having well and truly blotted my copy book with friend David Byrne (who is one of the creative talents behind PIT) with a crowded schedule, illness, fatigue and general forgetfulness, I made damn sure that I turned up for the fringe preview slash gala performance of A Stroke of Genius.

PIT have forged their success since early triumphs such as Ofsted - The Musical (an award winner, no less). I dare say the company are an example of how hard graft and talent really can get you somewhere in the London theatre scene. (Can I get an amen on that?). I've never seen David's work before but have been aware of it ever since he interviewed for a position at my previous workplace and shared select work in progress snapshots of this work. He didn't get the job but that clearly hasn't been a set-back in him following his true dreams. The theatre works in mysterious ways. What is so inspiring is that David dreams are starting to come true – because he has built them.

Before I even get to waffling on about the show, I have to make some comment about the venue, The Pleasance. This venue, despite being easy to find just does not want to be found by me. I’d rather believe that as the alternative is that I am mental. The last time I was here (seeing Tom Deering musically direct Have A Nice Life) I ended up totally lost asking a woman on a council estate if she knew where the theatre was. She didn't but was able to offer the advice that I'd best not ask the other woman across the street because she was a prostitute. Several years later, being older and wiser and having a smart-phone at my disposal I really fancied my chances this time. I end up walking in completely the opposite direction for 4 blocks. Thanks for screwing me over yet again google maps!

The play follows the story of Dora (played brilliantly by Leah Milner – I think although it is not clear on the PIT site – sort it guys!), the librarian at the doomed Last Editions Library. She has more than a passing whiff of Norma Desmond with her controlling needinesss, yet this character is less deluded and more human. You fear her, understand her, pity her and laugh at her geeky mannerisms all in the space of a 50 minute show – love it. With the help of Mr Product played by Phil McDonnell , (who is another scary invention even though the actor reminds me of Tom Felton playing Draco Malfoy in Harry Potter) she sets about creating a designer baby. The story is engaging - not necessarily thought provoking, but well staged. Inspiration from total theatre is apparent. Those blackouts accompanied by a loud sound effect that doesn't really mean anything is a Complicite trick for sure… and the putting a box on a guy’s head – did I see that in a press shot of Ofsted? Apparently I didn't - David informs me it was a paper bag that time. That's years of artistic development for you.

Scoffing asside, there is a lot that is unique to this production. The weaving of the science, humour, drama and cultural background is more successful than other productions I've seen. PIT manages to avoid the 'now for the history bit' that Black Watch shoehorned in (entertaining and slick though it was). It seems more organic and the play makes good use of reality, flashbacks and pleasant present slash past commentary. It's cleverly stylish but in a way that doesn't take itself too seriously. Curiously enough, this precisely reflects what seems to be PIT's own self-image. David nervously introduces the show and appears to be genuinely surprised that people turned up. Modesty looks good on this company but they do know they've got a good show here and a great future ahead of them right? I guess the challenge for PIT in future as they grow is whether they will lose their endearing child-prodigy, slightly-geeky, graduate student, not so serious quality.

Multimedia is creatively used but not in your face and is not pretentious. The music (by Janet Overfield – Hull graduate much?) nicely underpins the work, although I feel it could take centre stage a little more… because it’s so evocative.

The show is well acted and the characters are distinct which is essential for an ensemble piece. It's a tough concept and subject matter but PIT have injected the right amount of comedy, humour, science and satire to make it work.

Despite this considerable polish and delicious creativity I'm still left with questions. I say questions because they are not really criticisms - just things that I can't get my head round.

Why does Dora fall for someone she has no intention of having her child with? If all she offer is his scientific aptitude, why not extract it in a colder method such as blackmail as she does with other characters?

Why does Dora go to such elaborately grotesque extremes to dispatch Ali's girlfriend? It seems a waste of effort to go to the trouble of mutilation if killing her will do.

What really does happen to Ali and why is Dora only concerned about how he'd find her in future rather than what happened to him?

Why does Ali stay? The only justification is that he can't afford a return trip to Cambridge. Surely if you were subjected to that kind of discomfort you'd find a way of leaving? Any way of leaving. Does he find some kind of (warped) home in his relationship with Dora? Maybe but it's not clear.

What is the significance of the record? Does it provide a generational through-line? If so this seems superfluous after 50 minutes of a theatrical exploration of genetics. Is it the writer's way of saying that we can share more than genetic code with our ancestors such as a love of music? If so music seems a strange choice for a librarian who clearly loves books and is fascinated by science.

Dora's child grows up surprisingly well adjusted considering she was raised by freaks. She also appears to have no questions about her father.

What am I supposed to think or feel? Dora's plan works flawlessly and so I feel happy for her. This is at the cost of some very questionable actions morally. Is that the exploration? Am I supposed to be thinking more widely than the story I've just seen. So far I'm not having any great further thoughts about the morality, the pros or cons of designer children. I'm entertained but not thinking. For somone who's brain goes 24/7 with the more irrelevant crap, this is not a bad thing.

Over the next three weeks the show is going to be revised. This seems a wholly realistic timeframe as it is fine as it is! With resources hat matched those of the Total Theatre heavy-weights this show could easily rival them. I’m gonna go for the obvious pun (hopefully not the first and won't be the last...) and say “stroke of genius” this aint, but it’s not a premature ejaculation either.

I applaud PIT for this and am sure they will be successful at Edinburgh. So often shows and companies are overhyped but this one deserves a lot of attention - and it will get it… or there is something very wrong in the world.