A bold piece of new writing, unafraid to be weird and wacky with its form of storytelling

The premise is intriguing: a young woman, Maria, enters a nail salon that serves alcohol where she drinks and drinks until there are disastrous consequences. With a playful structure and style, Edie Walwyn’s writing is one of the most gripping aspects of the production.

The dynamic between Maria (Zara Walwyn, who also directs the piece) and her nail technician Mariana (Lima Amil) is a highlight. Nuances of awkward intimate encounters with a customer and a client who are both playing the social game whilst trying to unravel what the other one thinks of them are brought to the surface. It is cleverly contrasted with lines of intrusive thoughts and impulses and as result the tone shifts between dark comedy, to moments of outright farce, to satirical dialogue from the other customers and nail technicians. Louise Nicholls (who is also the Assistant Director) is delightful as Valerie, chipping in from the side-lines and Atticus Mitra as Connor provides the story with an compelling mystery. Every line and performance choice is specific and we as the audience are guided through it, even though it is not in a conventional manor.

The parallels of the piece to other writers, which Zara Walwyn allude to in her programme notes, are apparent: the things that are unsaid holding as much weight as lines that are said as with Chekov, the absurdities of life that Beckett draws on, the boldness of Phoebe-Waller-Bridge talking about current issues and breaking the fourth wall when necessary. I felt there was a parallel to Donald Glover’s Atlanta in terms of bending the form of the medium (in this case, theatre) to fit an uncompromising look at life, through whichever lense is relevant.

The Cockpit Theatre describes itself as a ‘theatre of ideas’ which fits perfectly in line with this piece that encapsulates a multitude of issues. Introducing herself to the audience before the piece begins and talking about the lack of funding from the current government Arts Council roots the piece in reality. Whilst it is often weird and wacky, there are lines of dialogue that cut through the surrealism and hit home.

Staging the show in the round naturally creates a sense of intimacy and community with fellow audience goers, however subtle moments of facial expressions can be missed depending on where you are sitting. Opening night technical mishaps aside, the lights give a clear indication of scenes set in reality and fantasy. Unfortunately, the blackouts between various scenes in order to move set, break some of the pace of this 90 minute piece. It would be interesting to see some the clever soundscape and playful choreography of London streets seen at the very beginning of the piece embedded throughout.

Tipsy is a gripping dark comedy that comments on what we share and to who. You are left with a feeling that we never really know what people are going through. Edie Walwyn has said how Tipsy was written to confirm whether she should be embarrassed by sharing things that have previously caused her shame and embarrassment. My response is … absolutely not! I cannot wait to see what she writes next. Tipsy is playing at The Cockpit Theatre until 17th June.

Review by Gabriel Curteis