Martini Rating: 🍸🍸🍸🍸
A bold and dynamic piece of new writing with plenty of grit to get your teeth into.
Written by Kitty Fox Davis and Megan Louise Wilson, Bored of Knives is a witty, affecting and truly intriguing debut piece from new theatre company FlawState. Performed precociously by Kitty Fox Davis and Molly Chesworth, the work explores the complexities of female friendships through the lense of two long lost school friends, 1 & 2. Set in their preserved childhood den at 1’s parent’s house, we are left wondering what event separated the two of them in secondary school and subsequently, what tragedy has caused 2 to return to the den in order to try and reconnect with 1. The writing itself, is a clever and wonderfully intricate trail of breadcrumbs, the pair allude to something that caused them to be separated during their school years, (with 2 having been sent to another school and 1 told to let her be), but we do not find out exactly what happened. The smatterings of references to this event, with the women finally telling each other how it made them feel and their perspectives on it, mean FlawState carefully reel their audience into the pair’s story, engaging and engendering a desire to find out more. This also wonderfully capitulates the commonalities and difficulties in maintaining female friendships in adulthood, as well as the need for sisterhood amongst women in order to get them through the tough times.
The idea of the den as the setting is so beautifully thematic. Not only does the den signify the women’s youthful dreams, it also forms a place of safety from the outside world as well as representing innocence and the loss of it. The den enacts as a time capsule, it has been preserved over the years by 1. Due to incapacitating anxiety, she finds it difficult to live in the outside world and thus spends most of her time in the sanctity of the den instead of working or socialising. By keeping it just as it’s always been, she has forced herself to stay stuck in the past with it, encapsulating herself in the time capsule. The den, thus signifying her innocence and isolation. Throughout the evening as the two women learn more about each other the den gets messier and messier, a wonderful foreshadowing of the fact their dreams will be broken, 1’s innocence gone and their future together extinguished. 1 is also shown to want to keep tidying up, demonstrating her resistance to moving forward. Kurtis Lowe’s sensational sound design woven throughout and thus breaking up the narrative, allows for not only a fast paced piece, but is a phenomenally executed, foreboding to the later revealed tragedy. Whilst Gino Santos’ creation of the den, (combined with Louis Caro’s lighting design), is marvellously labyrinthine, Santos forcing us to feel as if we are really looking into a childhood dream. Making 1 and 2’s world compellingly tangible.
The conversations broached by this piece are not only affecting, they are also exceedingly important. Wilson and Davis compassionately, truthfully, and often facetiously touch on topics such as sex and relationships, mental health and anxiety, abuse and betrayal. Causing their work to be relevant, relatable and wholeheartedly realistic, the extensive research and development phases explained in their programme notes certainly pay off. Whilst Tom Ryder’s direction is exquisite. Bored of Knives is a devastating exposé on hopes and dreams, whilst 1 is trying desperately to stay exactly how and where she is in her life, 2 is searching for a future and an escape. This pushing and pulling of alternative desires is intriguingly brought to the forefront in Ryder’s vision. Whilst 1 tidies around 2, desperate to keep things as they are, 2 mentions what would happen if she were to have a hen do and subsequently dresses up in a white dress, a subtle signifier of her future aspirations even if they are out of her reach. Ryder also includes joyful sections where the pair act like kids, their friendship seemingly mending itself as they revert back to their childhood and adolescence by wearing wigs, dressing up, singing, playing games, eating snacks and drinking, excellently contrasted by the darkness of Lowe’s sound design often abruptly tail-ending these motifs. It is these jovial moments that make the overall tragedy and betrayal so powerfully severe. Kitty Fox Davis’ meek and righteous 1, riddled with insecurities and an ingrained desire to stay where she is, is an absolute delight. Davis is comically gifted, providing both a layered and warm delivery. Whilst Molly Chesworth’s hardened 2 is remarkably spirited and tenacious, Chesworth dextrously from the off, gives the impression 2’s mind is in two places at once and thunders through the piece with some unshakeably powerful acting. Both are simply stunning performers with exceptional chemistry.
1 – Kitty Fox Davis
2 – Molly Chesworth
Voiceovers – Max Gell, Clive Marlowe, Adam Elliott and Viv Keene
Writers – Megan Louise Wilson & Kitty Fox Davis
Director – Tom Ryder
Producer – Kurtis Lowe
Associate Producer – Kitty Fox Davis
Media & Marketing – Megan Louise Wilson
Set Design – Gino Santos
Sound Design – Kurtis Lowe
Lighting Design – Louis Caro