Post Ironic? Moi?
Popcorn is that rare beast, a successful novel that was then adapted into an equally successful play by its author - and, if the rumours are true, into a Ridley Scott-directed film with some rather ironic appropriateness. But aside from a well-timed attack on Hollywood, with the announcement of this year's Oscar nominations this week, Elton's play requires a very strong production to succeed dramatically. Much of his material seems rather dated and tired a decade on.Thankfully, Joss Gordon and AKM Productions have risen to the challenge, ironing out much of the tiresome sentiment while retaining the essential wit and horror.
The plot concerns the ultra-successful, Oscar-winning and decidedly Tarantino-esque Bruce Delamitri, Hollywood's hottest producer of violent exploitation films. When Bruce, accompanied by his wife, daughter, partner and mistress, encounter the psychotic Wayne and Scout - white trash murderers who claim to have been influenced by his work - the consequences are disastrous. Violence ensues.
If this all sounds a bit clever-clever, well, it is. Some moments come closer to sitcom than reality. Of course, the play is intended to oscillate from drama to comedy and back again in the space of a moment, but chances are that few audiences will be able to take much of what is going on at all seriously.
However, the superb performance from Gabriel Vick as Wayne, combining laugh-out-loud hilarity with a frightening air of psychotic menace, helps to anchor the play in a sense of realistic terror. There is also superb work (and, perhaps most notably, excellent accents) from the rest of the cast, especially Brian Stewart as Bruce and Amy Hayes as the Playboy-centrefold-cum-would-be-actress who attempts to seduce Bruce in this week's display of flesh at the OFS.
It's tempting to speculate on what the material would be like if Elton were a better playwright, as the play gets a little bogged down in over-obvious preaching at points, but Gordon's well-paced and confident direction keeps the play on an even keel, never allowing it to become excessively dull or didactic. Throw in the fact that real (if apparently 'disarmed') guns are used throughout, raising the exciting possibility of on-stage murder at any moment, and this becomes a truly must-see production.
6th Feb 2003