Morality, Mortality and Mentality and 70 Not Out

Morality, Morality and Mentality is written and directed by Connell MJ Costello, a young gentleman whose creative vision is deeply rooted in personal experience. The production comprises four distinct plays, each reflecting attributes of Connell’s own life. The third piece is performed by Connell himself, offering the audience an intimate glimpse into his journey and the profound impact mental health has had on him, his family, and his friends.

It takes tremendous courage to stand before a live audience and lay bare one’s personal struggles. Connell does so with sincerity and vulnerability, and I wholeheartedly take my hat off to him, this is not just storytelling, but true professional acting that demands emotional resilience and artistic integrity.

As the evening began, we took our seats in The Headley Palin Studio. The stage was simply set: two chairs positioned centre stage and a video playing on a screen, immediately establishing a reflective and contemplative atmosphere.

Sanity

The first play, Sanity, was performed by Caitlin Dykes-Johnson and Megan Bright. What stood out immediately was the strength of their dialogue delivery. The script was dense with emotional and psychological insight, and both actors navigated this complexity with poise. Connell’s direction cleverly incorporated deliberate pauses, allowing the audience to absorb and process the weight of the material. This piece explored the intricacies of mental health, and the ripple effects it has on those around us, anchored by the poignant observation that “the human brain is a complex organ.” The pacing and projection were spot on, an engaging and thought-provoking opening that left the audience eager for more.

24-Hour Partisan People

Next came 24-Hour Partisan People, performed by Robert Copeland. This monologue, delivered directly to the audience from a seated position, was lengthy and introspective. While the emotional truth of the story was evident, the delivery lacked tonal variation, which made it difficult at times to stay fully engaged. That said, Robert’s strong eye contact and connection with the audience helped maintain a sense of intimacy and sincerity. The piece felt like a personal recollection, and while it could benefit from more dynamic pacing, its authenticity was undeniable.

The Grim and Suspicious Demise of the One-Man Culture Club Tribute Act (AKA Why I Don’t Like Summer Anymore)

Connell took to the stage for this raw and deeply personal monologue. It was a rollercoaster of emotions, unflinchingly honest and emotionally charged. Connell left no stone unturned, sharing his story with remarkable openness. At one point, I found myself wondering whether the piece might have landed differently if performed by another actor, perhaps the raw emotion occasionally overpowered the narrative. Yet, that vulnerability is precisely what made it so compelling. Connell’s blend of confidence and nervous energy created a powerful tension that resonated throughout the room. His bravery in sharing such a personal story deserves immense respect. I encourage Connell to continue developing this piece and consider how another performer might interpret it, there’s potential here for a truly transformative theatrical experience.

In Living Colour

The final piece of Act 1, In Living Colour, was performed by Suzanne Copeland. Seated in a well-placed armchair centre stage, Suzanne delivered a beautifully layered monologue that invited introspection and emotional reflection. The writing was rich with nostalgia and personal resonance, and Suzanne’s performance was exceptional. Her timing, pacing, and natural delivery made the dialogue flow effortlessly. This piece was a testament to Connell’s ability to craft emotionally intelligent and resonant theatre, and Suzanne brought it to life with grace and precision.

Act 2: 70 Not Out by Taffy Davies

Act 2 introduced a tonal shift with 70 Not Out, written and directed by Taffy Davies. This play centres around a surprise birthday party for Stan, played by Charlie Oliver. The ensemble cast buzzes around the stage, preparing for Stan’s arrival. But when the surprise is sprung, Stan suffers a heart attack, sending the group into a frenzy of panic and guilt. What follows is a cascade of farcical humour as the characters scramble to hide what they believe to be a fatal mistake.

Charlie Oliver did a commendable job maintaining stillness and presence as Stan, while the cast moved around him with frantic energy. One standout moment came from Randall, played by Blagovest Ivanchev, who delivered a heartfelt monologue reflecting on his friendship with Stan. It added emotional depth to the otherwise comedic chaos.

Taffy’s writing is sharp and witty, and the direction kept the energy high. However, I found myself wanting to know more about each character, their backgrounds, motivations, and how they came to be in Stan’s house. This could be an area for further development, and I’d be excited to see how Taffy expands on these characters in future iterations.

In the final stages of the play, Stan suddenly springs back to life, a twist that, while amusing, felt somewhat anticipated. I wasn’t entirely sure why, but I found myself expecting it. Something in the middle of the play seemed to lack enough distraction or misdirection to fully immerse the audience in the belief that Stan’s demise was permanent. A stronger emotional or narrative detour might have helped maintain suspense and deepen the surprise.

That said, Stan’s unexpected revival injected a fresh wave of hilarity into the performance, especially as it sent Eileen, played brilliantly by Susan Sills, into a full-blown panic. Her reaction was both believable and comically exaggerated, and she handled the moment with impeccable timing. Susan’s gradual build-up through her pacing and delivery made her collapse feel earned and dramatically satisfying. It was a standout moment that showcased her skill in balancing farce with emotional authenticity.

It’s truly heartening to witness new work from emerging theatre writers. Both Connell MJ Costello and Taffy Davies have demonstrated immense talent, dedication, and a willingness to tackle complex themes with honesty and creativity. Their work is a testament to the power of theatre to provoke thought, evoke emotion, and spark conversation.

I extend my sincere thanks and congratulations to both Connell and Taffy for sharing their stories and plays, inviting us into their creative worlds. The journey from page to stage is no small feat, and your commitment shines through in every moment. I look forward to seeing more from you both in the future, your voices are vital, and your stories deserve to be heard.

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