Fringe Theatre Reviews: Jethro Compton

Feature by Charlie Hanks | 11 Aug 2015

There's always something alluring about Fringe regulars Jethro Compton Productions: sexy publicity photos, cinematic play titles and the promise of 'immersion.'

There is an immediate allure to The Frontier Trilogy, pulsating music and a glowing red crucifix at the far end of the purpose-built space, a sort of summerhouse-cum-chapel. Although there was palpable presence beyond this bare stage, the plays lack the smouldering intimacy promised by previous success. That said, this is classy, relentlessly enjoyable theatre.

The opening of the first instalment of the Western-style series, Blood Red Moon [★★★☆☆], sets a note of foreboding that endures, with a tense exchange in the very church where we sit. As the story rewinds, the chapel is no longer the scene, losing that immersive power but not the momentum. The central brotherly relationship is jarring at first, but a twist forgives this and the intrigue created is impressive.

Sam Donnelly as the older brother is largely responsible, his character volatile; captivating. In The Clock Strikes Noon [★★★★☆] he is a more measured hero, but his characterisation remains fierce. The stage traverses the length of the chapel – to avoid tennis-match syndrome, it is interesting to focus on each actor for longer periods and Donnelly never flinches from his role. The transformation between roles made by Bebe Sanders is also terrific, from meek but strong-hearted to brazen but brittle.

Her character is the key to this episode, which is doubtless the strongest of the trilogy, not least because of the unity of time and place. The audience feels just as stuck, just as conscious of time as the actors on stage. There is less narrative closure, but this is what immersive experiences should be: feeling the tension with the characters, willing them to think rationally, being startled by the creak of wood or an open door – and being left with just that snapshot of these lives and nothing more.

The Rattlesnake’s Kiss [★★★★☆] once again tries to present the whole story, and the scale feels too large. It is a satisfying finale, however, as the trilogy’s only constant, Father Manoah, comes into his own. It is a clever reward for those who have committed to watching all three but there is no reason the play should not be seen in isolation. Donnelly again is electric and Jonathan Matthews is also at his best as the manipulative Court Marshal.

This is a bold show of stamina from the four-strong cast. Signs of tiredness by the end are not enough to bring the disbelief of the audience back to earth, a consistency that each moment of danger is a testament to. The Frontier Trilogy is never dusty and suffocating enough but there is no denying the sheer audacity and theatrical relish of the whole production, nor any possibility of wishing yourself somewhere else.

If you did, there is always Jethro Compton’s stand-alone play Sirenia [★★★☆☆]. Just upstairs from the Chapel of Emmanuel, it feels a world away; a tiny room in Black Rock lighthouse, where keeper Isaac Dyer is bracing himself for a storm. This is claustrophobic, creepy, at once surreal and very real, to the point of the audience being splashed with rainwater. But it never quite creates the atmosphere that Compton excels at, usually with the help of a generous plot. Tthere is too little to get stuck into here and the actors do not seem totally at ease with the intimate space.

Compton’s signature style is becoming a Fringe brand of sorts. His commitment to the total production is epic and still unique at the festival. The Frontier Trilogy is at once classic and truly original. Immerse yourselves.


Jethro Compton's The Frontier Trilogy until 31 Aug, C Nova , £13.50/£12.50 (£10.50/£11.50):
Blood Red Moon, 5.10pm
The Clock Strikes Noon, 9.10pm 
The Rattlesnake's Kiss, 10.30pm

Jethro Compton presents Sirenia until 31 Aug, C Nova, £13.50/£12.50 (£10.50/£11.50), 7.25pm & 8.25pm

http://www.edfringe.com