Triptych Theatre’s An Audience with Stuart Bagcliffe starts slowly. We are introduced to Stuart, a nervous, bumbling man-boy with a West Country accent and wide-eyed optimism. He is putting on this play at the behest of his overbearing mother, who waits in the wings disapprovingly. His tech guy isn’t much cop either, but this is all part of the play. It’s a clever way to bring an intimate reality to what we are watching, but it does take a while.
Once Stuart begins his story, we are treated to a monologue that’s both detailed and twee. Littered with stock characters that Stuart brings to life with real fervour. Michael Parker’s portrayal of Stuart is very endearing and you quickly find yourself feeling for this innocent, fish out of water. He’s a young teen with dodgy kidneys and a dodgier mother. He’s a hopeless romantic and falls for his classmate, but becomes jealous when he finds she’s been using a dating site behind his back. His jealousy ultimately leads to terrible consequences.
The bulk of An Audience with Stuart Bagcliffe is your standard fringe one-man show. It’s safe and ably executed, the writing (by Benny Ainsworth) doesn’t falter. You could’ve understood if they’d decided to leave it at that. But it’s in the third act where the show earns its status as something bold, interesting and different.
As the show reaches its climax we are suddenly in very disturbing territory, which we won’t spoil, but you have been warned. Sally Paffett’s direction, which is for the most part, restrained and minimalist, becomes extreme in its final minutes.
An Audience with Stuart Bagcliffe is a show that can be a challenging watch, it leaves you with a lot to process. It is a testament to Triptych Theatre not to go for the easy option of playing it safe and although it doesn’t always work, it stands out as one of the fringe’s more experimental theatre shows.
