A witty, charming tale of ten dates, and a woman who deserves more
At midday on a sunny Tuesday, Camden’s Etcetera Theatre welcomes a Gooper Dust
Production of 10 First Dates. Starring Laura Shipler Chico as Maggie, the play’s protagonist, and a skilled Mark Parsons as her ten dates, Camden’s Women’s Writers Festival continues to celebrate gifted female writing. Directed by Jamie Saul and written by Christine Rose, the play seeks to offer a comedic insight into the reality of dating again as a middle-aged woman.
After the departure of a 25-year old marriage, Maggie is left newly single and considers
her entrance into the modern world of dating. We meet our protagonist as she scrambles to find the right outfit, on an initially stripped-back set, featuring two stage blocks, a coat hanger and a mirror. Anxious of this dating rebirth, we learn of Maggie’s concerns when adapting to contemporary abbreviations and navigating the swipes of the likes of Tinder and Bumble.
Rose’s writing is witty, sharp and convincing as we learn of the play’s premise. Maggie will encounter ten first dates, lasting no more than an hour, and certainly not exceeding two hours.
Saul’s direction initiates some smooth transitions. The revelation of the washing line of number cards which emerges from the coat hanger is particularly impressive and a sleek transition transports Maggie into her first date. Saul’s direction utilizes spacing and proximity to indicate Maggie’s apprehension.
Our first impression of Parson’s characterisation is excellent. Through costume, posture
and voice, Parson’s skill becomes very apparent. This dynamic between Maggie and Date One, lays the foundation for the headaches of online dating, whilst portraying the homogenous experience of dating men. As we meet the varying dates, Parson’s impersonations maintain strong, depicting rich archetypes and aiding Maggie’s endeavour.
Maggie’s dating experiences vary, from dates which disgust her or violate her to warm
her and enlighten her- Rose makes sure to encompass a range of experiences. The theme of sex and the heavy male attention to it runs throughout. We witness Maggie in uncomfortable positions, yet as the dates progress in their sequence, we see some improvement, represented in the words printed on the mugshots of each date on the photocards of the washing line.
Between the dates, Maggie provides feedback to the audience, commenting upon her
frustrations. These moments had the potential to provide a deep understanding of why Maggie feels she must undertake this journey, yet as the numbers increase, I found a repetitiveness in her observations. This made the performance feel slightly like a countdown, and potentially too linear for what 10 First Dates could push for. If the initial exploration of Maggie’s past was pushed to reveal her inner turmoil, these dates could really strengthen the play’s concluding note of self-acceptance.
Nevertheless, 10 First Dates exemplified some great acting and smooth choreography, whilst providing continuous moments to laugh out loud at. With some small edits and a deep dive into the character’s psyche, 10 First Dates has the potential to be really impactful to an audience and offer a critical perspective on modern-day dating.