A show that sometimes teeters off the rails, but ultimately gets to the right destination.
Part of the Camden Fringe, Off and On boasts an immediately engaging concept. It is set entirely in a single train carriage and the performance space is strictly confined to the narrow width of a carriage walkway. One has to admire the inventive staging, particularly given the production’s ambitious plans to tour the UK performing inside actual train cars, some stationary in transport museums, others actively in motion. It is bold, resourceful, and captures the exact inventive spirit that makes fringe theatre so exciting.
First praise must go to the entire cast. Off and On is a relentless, high-energy piece that would completely derail if the momentum lagged for even a second. The cast dials every scene up to 100, driving the narrative forward with infectious commitment. At times, this constant intensity devolves ever so slightly into sustained periods of just shouting in exaggerated accents and a bit more dynamic ebb and flow would allow the high-farce beats to land with greater precision. On the whole, however, the performances are impressively vibrant.
The script and setting lean heavily into classic British farce, drawing clear lineage from Fawlty Towers and the Carry On films. We get classic cases of mistaken identity featuring a lineup of characters who seem to suffer from severe face blindness, where the sudden addition of a moustache or hat is enough to fool everyone. However, some of the full costume changes feel clunky in such a tight space. Simplifying these transitions to swift swapping of jackets or headwear would maintain the frantic pacing and avoid those awkward lulls where actors are left fumbling with buttons.
Where the production stumbles is in narrative logic and character motivation, both of which occasionally get lost in the chaos. Certain actions occur purely to engineer a future gag rather than stemming from authentic character choices. The most egregious is when a character pours his drink into a hat for no discernible reason, solely so someone else can put it on later for a physical payoff. Additionally, a startling number of characters are driven almost entirely by predatory lust, chasing one another across the carriage. The web of relationships and underlying motives quickly becomes muddled and characters seem to change with little explanation. Cutting a few superfluous subplots or characters would significantly tighten the narrative spine.
When the show finds its groove, however, it successfully gets the audience on board. Off and On is at its absolute strongest during its moments of visual absurdity and sharp physical comedy, even if it takes time to find its feet early on before the absurdity reaches critical mass. An extended routine debating leek juice versus kale juice, while pleasantly surreal, feels curiously devoid of genuine laughs. Ultimately, Off and On delivers a solid dose of absurd, fast-paced, farcical, fun.
Created by Right Track Theatre, Off and On played at the Bridewell Theatre from 16th–18th August.