The Kosh in The Storeroom

Fringe veterans The Kosh return with a one-woman theatre piece, which, after a slow start, has all the hallmarks of the quality one has come to expect from them. Telling the story of a showgirl trapped by her love for a married playboy, Siân Williams weaves a web of suspense that culminates in a memorably dramatic finish.

Technically, the piece is near flawless. The creative use of costume and props, and their well-timed, subtle changes, bring the complex piece together without distracting from the dialogue or movement on stage. Similarly, the use of stage space is excellent – there are no wasted set pieces or unused corners, magnifying the illusion that Williams isn’t working alone by creating a flowing dominance of the room. The musical arrangement transports one into the showgirl’s world, although of her many talents, singing is probably Williams’ weakest.

Sadly, Williams falls prey to the flaw of many one-woman shows in the occasional display of self-indulgence. Whilst she is enjoyable to watch, with graceful, powerful motions, the long solo dances which litter the production sometimes leave eyes and minds to wander. This is especially true at the beginning of the show, in particular the dance incorporating a recorder, but do begin to ease with use of contemporary ballet in which Williams shines.

Despite this flaw, The Storeroom is a technically impressive piece of new theatre, executed with a passionate and accomplished performance from the female lead.