HOME, Manchester – until 11th March 2023
Reviewed by Nicola Pennicott-Hall and Zoe Brown
3***
Described as “a lyrical, theatrical journey that spans continents and lives”, Too Much World At Once is the urgent and compelling story of fifteen year old Noble – a young man who spends his life trying to prove to the world that he is ordinary, only for the most extraordinary series of events to upend his life. Opening on a sparse, driftwood-like set, Katie Scott’s stage design is evocative of the beach at wintertime, and you almost expect to smell the tang of ozone as you take your seat. With undercurrents of fantasy, stark reality and a well written exploration of the perils of teenagerhood, Too Much World At Once has a lot to say.
Paddy Stafford brings an energetic vulnerability to the part of Noble, skilfully weaving surly teenage angst with some beautiful moments of pathos. Together with stand-out-star Ewan Grant as the ebullient Ellis, whose desire to stand out juxtaposes Noble’s desperate efforts to fit in, they create a double act who the audience yearns to spend more stage time with. Their blossoming, tentative friendship is a joy to watch and both stars should be commended.
Alexandra Mathie as Fiona, Noble’s Mum, and Eve Hargreaves as his sister Cleo both do well to portray a spikey, complex mother/daughter relationship told only through phone calls with a temperamental, patchy signal. Whilst given a confident start, Cleo spends much of the play in a state of unending, high anxiety, which can become trying as the piece goes on.
The play is let down by the more lyrical half scenes which pepper the show and feature overused and unnecessary word share. Whilst director Adam Quayle excels in fostering the dynamic and conflicts between the characters, when compared to the flow of the more naturalistic scenes, it unfortunately becomes slightly reminiscent of GCSE drama.
Writer Billie Collins has created a wonderful, complex world through her skilful narrative, but the play becomes confusing around the three quarters mark, when all the themes – coming-of-age, magical metamorphosis and climate change collide with a large bang. If this were a play solely about the consequences of climate change or a metaphor for a teenager’s transition to adulthood, it may provide a cleaner experience for the audience. As it is, with all themes fighting for equal stage times, it tends to become messy and chaotic with the play not seeming to know exactly what it wants to say.
Ultimately, this is a very enjoyable play featuring strong performances and an exquisite exploration of male teenage friendship by Stafford and Grant. We look forward to seeing future productions by the immensely talented cast and company behind it; it simply is a play trying to say Too Much… All At Once.