Preview: Fat Git Theatre’s “Uninvited”

at the Capital Studio, Saturday 9th June 2012

Fat Git Theatre’s last production, The Nose, was created in a short space of time, and its haphazard and pop-up feel reflected that. Their new show Uninvited, however, has been a year in the making and comes across as a far more accomplished piece of theatre, marrying the absurdity of the company’s style with a more complete narrative whilst taking some hilariously funny turns in the process.

In the piece, based on Peter Mortimer’s novella of the same name, a man comes home from work one day to find a stranger in his house. His daily routine is utterly shattered by the intruder, who initially simply sits silently in order to upset his host. Soon, however, a latent violence manifests itself into something far darker as the protagonist’s world is utterly shattered.

I worry somewhat about the nihilism of the story – there’s very little optimism in its conclusion – but thankfully Josh Roche has directed it in such a way that the overriding tone is one of comedy. In his portrayal of the central character (named ‘Me’), Josh Goulding is hilarious, showing a man so set in his ways that it makes sense that this break-in causes a break-down. This man is excruciatingly dull, and it initially seems like this event will pull him out of his reverie to engage better with the world around him.

In Roche’s production, the man’s only friends are the Bouffons (Edward Davis, Kate Pearse and Emma Jane Denly), who are part of his beige and nondescript furniture. His house is his castle, and these his guards at the gates. In a world where the private sphere is being constantly encroached upon and violated, it makes sense that the only comfort here is found behind closed doors and in the purity of one’s own thoughts. We hate this figure for his small-mindedness, but it’s hard not to feel sympathy for him.

As the stranger, Joe Boylan is quietly terrifying, saying very little until the climax of the play and stage managing the house to scare the man and play with his paranoia. Fittingly, he is the only normal person in this absurd world. It feels like a little more anticipation of his final horrid act could be useful in order to make us feel more guilty about laughing. These final few moments are a little like a Martin McDonagh play that Ionesco has structured; this isn’t as mad as it sounds, for both writers feed off and send up the absurdity of life, meaning they are happily married here.

Fat Git were a hot ticket at last year’s Edinburgh Fringe, and there’s no doubt they’re on a course for the same trajectory this year. In less than a year, the company’s style has matured in a way which has begun to best use the grotesque to inform a narrative. It’s also thrilling to find yourself thinking about the play for a long time afterwards, for though I found myself in a state of perpetual laughter, Uninvited also does an impressive job of challenging and redefining our expectations.

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