Here are some of the reviews for the Stratford-upon-Avon production of Saturday and Sunday 6th and 7th April 2019.
Nick le Mesurier reviewing for the Leamington Courier
Somewhere on a street near you a homeless person is sleeping or waiting patiently for someone to pay attention, perhaps to give a coin or two. Chances are we don’t give them more than a passing glance, so much a part of everyday life has the sight of sleeping bags or tents on the streets become.
But behind every person who is homeless is a story. It’s not one of greed, idleness or exploitation, as some say, but more likely one of abuse, loss or simply bad luck. Anyone can become homeless if things go wrong. Often, it’s the triple whammy of illness, relationship breakdown and loss of employment coming together that pushes people to the edge. This is what happened to Mick (Mark Spriggs) in Jackie Lines’s hard-hitting play Streets Apart, which unashamedly draws attention to the truth behind the façade of life on the streets. Mick was a plumber who had his own business till he fell and broke his back. Unable to work he lost everything and ended up sleeping rough, a prey to depression and drugs. He is broken, desperate for somewhere to turn, yet too angry to accept help. He’s not an easy person to get along with, but he is more vulnerable than a threat.
To the shelter come Tom and Susan (Tom Purchase-Rathbone and Emma Beasley), young people who feel that they only have each other in a world that doesn’t care about them. Neither can read or write, and each has been told by their parents over and again that they are useless and a waste of space. So, they end up freezing in a tent, too traumatised at first to come to the shelter, but gradually lured by need and a slim thread of hope.
Streets Apart is a snapshot of a way of life that goes on before our very eyes, which most of us, lets be honest, don’t notice much. As a play it is unashamedly propagandistic. It wants you to look again, to see the person behind the figure, consider for a moment that they might not be there because they want to be, but because life can often be unfair, that the things that make it go well for some – friends, family, income, health, a home – can go horribly wrong for others.
Jackie Lines wrote Streets Apart because as a writer she felt moved to do something positive. The play is pretty bleak in its treatment, a relentless look at the drudgery of life on the streets. But then life on the streets is dreary; though it has its moments of hope and humour too. The humour in the play comes in Gill Hines’s Edna, a stereotypically dotty old lady who nevertheless helps out at the shelter and chivvies folk along with her grandmothers’ wit. The hope comes from the love shown by the shelter volunteers and the unlikely source of an allotment on which some of the people who use the shelter work. The generosity of a stranger gives them an opportunity to build something that lasts. In this case it’s a soup service, made from the vegetables they grow.
Never mind the details of how to sustain such an enterprise; it’s the spirit of the thing that counts here. The play studiously avoids the politics of homelessness, which some might consider a weakness. I think it’s a choice. There is tragedy here, and death too, but there is also life, something which the play relentlessly reminds us.
“We all need someone to hold / Life on the streets can be lonely and cold / No-one’s an island, or so I’m told,” are lines from the catchy theme tune devised for the play by Chris Musson with the active participation of people living on the streets of Stratford, as was the rest of the play.
The play touched more than a few hearts in performance because it got a standing ovation.
Stratford Play House, Stratford upon Avon, Saturday 6th April 2019
First off, it’s very pleasing to see new work being created and produced in a town that thrives on centuries-old drama. This brand-new piece by local playwright Jackie Lines depicts what life is like for an increasing number of vulnerable people who, through no choice of their own, wind up on the streets. Passers-by give examples of the abuse faced by homeless people and illustrate the negative attitudes and common misconceptions about them. It’s an effective start.
The play tells of the efforts of a group of volunteers in a centre as they strive, with limited resources, to make life better for the homeless. We meet a range of characters from the streets, such as ex-army, PTSD sufferer Neil (a powerful Graham Tyrer) who declaims poetry and rants through mental illness, like a latter-day Vladimir or Estragon. There’s Mick, a former plumber who lost everything after a life-changing injury that led to an addiction to opiates, played by Mark Spriggs with intensity, strength and vulnerability. The inclusion of a couple of original poems by Spriggs enriches the show.
Largely, the story concerns the fate of young couple Tom (Tom Purchase-Rathbone) and Susan (Emma Beasley) who have found each other on the streets, having each come from horrendous childhood backgrounds. At first, they are cautious about accepting help from the centre, but gradually, they blossom and thrive, although there are some setbacks along the way. Mick, who, despite the intercession of bleeding heart Sandra (Rachel Alcock) declines help, does not end so happily: there is some kind of moral message here. If you accept help, you’ll be fine; if you don’t, you won’t.
Among an effective cast, Zoe Rashwan’s forthright Carol stands out and the drama is leavened by comic relief from Gill Hines as doddering volunteer Edna. Chris Musson (appearing as guitarist Barry) brings original music, along with Chris Callaghan’s Eddie, as volunteers running song-writing sessions to give the homeless a voice.
As the volunteers, we have Stacey Warner as Anna, Barry Purchase-Rathbone as Greg, and Karen Welsh as Diane – whose elegant exterior masks a tale of injustice and loss that put her on the streets for a time. The play shows that there are ways out of homelessness, and not all of them are tragic!
In terms of drama, I would like to see more direct conflict, perhaps involving the kind of authority figures whose policies exacerbate the problem. Certainly, these people need to be in the audience of a show like this. Director Greg Cole handles the slice-of-life tone, with scenes coming over as credible and authentic, although there are some staging issues. In-the-round is more intimate, yes, and democratic, which is fitting, but cast members need to ‘share their backs’ so everyone gets a fair look at them!
By and large, the production is an awareness-raising, thought-provoking, conscience-pricking success, depicting the precariousness of life in society today and emphasising the humanity we all share with the homeless.