Edinburgh Festival: 2009 - 'Stitches' by Claire Urwin

Some reviews have called this piece of new writing, from the University of Manchester and 'Scratch That' theatre company, science fiction. I would like to go along with this, because ultimately most good science fiction has a compelling story, is often set in a fictional other time or place, and has an amazing capacity for imagination; these are all qualities that 'Stitches' possesses in abundance.

This is Claire Urwin's third play and her second in Edinburgh and I think the strength of her writing is in its willingness to experiment with poetic and novel forms too. The opening monologue from Elisabeth Hopper's Amy had me thinking of a number of novels - 'The Time Machine' by H.G. Wells, or 'War of the Worlds' by the same author. I say this because this old fashioned science fiction, when it was just the writer's ability to imagine strange, impossible things that made it so fascinating. This tradition is mixed with Urwin's use of language and conjuring up of weird and wonderful images, to create a horrifying future in which the 'Firefloods' sweep across the surface of the Earth, decimating the population. Populations are then split up, as mankind divides into those on the Rafts and the Floats.

I'll say no more to avoid ruining it for those who have not seen it, but Urwin's language seems to have found a perfect niche here; she invents a new world after this horrible event in which new language and half-remembered slang combine and characterise a Cinder Age in which the rest of the play is set. Four women spend their days desperately trying to piece together life in the time that came before.

Their little group is more of a commune than a community and, under Rajiv Nathwani's direction, each character seems to represent a different reaction to the end of the world. Jess Cobham-Dineen's Webb is the de-facto leader, the tired face of the bureaucracy for which they work; Caitlin Albery Beavan as Libby is an infantile figure who seems to believe that if she simply does her job, all will be well. Vanessa Fogarty as Bel is a remnant from the upper class, who despite her haughtiness, demands not to be treated any differently because of her social station. The final of the main four is Claire Rugg's Nettie who, if the word still existed, I would describe as bourgeois, hating Bel for her class and genuinely saddened and twisted by what sounds like quite a loveless life (from her own little speech in the middle).

Again, I'll refrain from saying too much about their relationships except to say that you find yourself watching closely when Hopper's Amy joins the group. With her wild eyes and rubbing of her nose, she commands your attention even when she has no dialogue.

My only criticism of the play is minor and easily fixed, but it essentially boils down to length. The combination of Urwin's writing and the energetic direction of the play, means that it seems to end just as it begins to get interesting. All the dynamics and nuances are never given a chance to fully play themselves out. I believe this would go away if the play were lengthened; ultimately this is probably a pitfall of the Edinburgh festival, in which a culture of many plays means that the short running time is a necessary evil. I would recommend this play, however, because ultimately its combination of original writing and an excellent ensemble cast under some taut direction, means I would happily sit through another hour of this.

****