Goodnight Grace Channing is a great first step into the exploration of grief in combination with childlike joy.
Goodnight Grace Channing was a short exploration into the idea of combining childlike joy and whimsy with mental health and grief – making these topics potentially accessible to those who are younger or have learning difficulties. The integration of art styles – music, spoken word, poetry – meant that the audience was never quite sure what was going to come next. Along with this, the simplicity of the set and costumes meant that there was little distraction from the message of the text itself. The intimate setting of the theatre itself helped to further the audience’s integration into Grace and Luke’s world, especially considering the setting in which we were implied to be in.
The writing of this play felt like an attempt to bring difficult themes to light however it just slightly missed the mark, making some scenes feel crude or ‘cringe’. The lack of resolution for either character left the audience unsure of how to feel about the play and its themes and message. Although in theory a show don’t tell attitude is a well regarded attitude in theatre and playwriting, this felt like it had gone too far and did not tell or show the audience enough to be able to understand the context and themes of the play fully. However, the general concept of the play is something that could thrive with some more development, as it felt like the start of an idea that could be something to really bring awareness in an accessible and fun way for underprivileged audiences or audiences with learning difficulties to be able to understand and appreciate struggles in everyday life.
Gee Cusk as Grace bought a beautiful take on the viewpoint of a struggling young adult both in her quiet reflective moments and the more manic interactions she has with Luke. Furthermore, her comfortability with the sung moments of the play bought a quiet relatability to all facets of her character. She has a genuine talent in her musical ability, especially in the quiet moments of harmony, which really emphasised both the calm and energetic sides of her character. Similarly, Ciaran Cross as Luke brought a childlike wonder to an ageless character, which is certainly a feat. The pair of them playing opposite each other created a lovely cross of friendship and tension – and brought a comedic lens to the performance, helped greatly by Luke’s glittery beard! Both Gee and Ciaran played their roles in this performance very well and you could tell that they genuinely enjoy being onstage and interacting with each other.
Author: Eloise Barber