Jake Mace
Two boy scouts head out on a trip to impress the President as he flies past their provincial town late at night on a train. Will their love of country, scouting, and the great outdoors survive the tumultuous political environment of the 1960s United States? Xhloe and Natasha impress, evoke, and entangle each other over fifty minutes with their now trademark frenetic charm. Sharp, mischievous and stirring – this might be their best work of playful fable-forging yet.
Brash trailblazer Ace is joined by the younger, more naïve Grasshopper as they traverse the great outdoors together, slipping and sliding around each other, caked in mud, while making sure they make it back to camp in time for cornbread with their fellow scouts. The duo deftly leap between non-linear action sequences and chats between bunk beds, as they create a fully-formed pictures of the other boys in their troop, and how their fates unwind quickly in the harsh conditions they find themselves in.
The mustering force of the Boy Scout as preparation for future service for country is the central pin on which A Letter to Lyndon B… spins, but Xhloe and Natasha create a sensuous world for these boys to explore, uncover, and become affected by. The piece ends up delving into the spirit of adventure, political religion, brotherhood, nostalgia, and so much more in this kaleidoscopic parable. The worldbuilding here is smartly achieved by ingenious production design and choreography which blend into each other seamlessly, with Xhloe and Natasha darting over, under, and around a huge truck wheel on stage.
Angelo Sagnelli paints gorgeous landscapes and fire-side nostalgia onto the stage with a full toolbox of light and sound strapped to his belt. A particularly engrossing piece of scenography appears in one state involving water, where we feel the genuine sinking claustrophobia encase us. Four corner lights splash onto the pair of performers as they leap boundlessly around the stage. It’s a spellbinding achievement of design and performance working together in perfect, unflinching synchronicity.
With seemingly unending energy, Xhloe and Natasha flip, dive, and launch themselves across the stage, throwing the huge truck wheel in directions that seem like it might be just about to fly off stage, but of course, catching it just in time. Every movement is dissectable, planned, perfect, and envisions that sense of wonder that comes with being a child surrounded by impossibly big trees, relying only on your wits, and chowing down on s’mores as the glow of the evening sun draws near. Their childish, whimsical glee makes the story’s conclusion even more devastating.
The characterisation of the two young lads is precise and poised – repetitions of the pledge of allegiance, spit-shakes, and plunges through the woodland brush are achieved in such an endearing way. The natural older-friend-younger-friend relationship comes across as true and authentic despite the clownish nature of the piece, and you’re truly dragged into a friendship that has to overcome the hurdles of transitioning from wide-eyed joy to crushing reality.
Not a moment of time is wasted, no tree left unclimbed, no rabbit hole un-discovered. The message of the piece cuts flesh-deep, built by powerful physical storytelling that captivates, commands, and asks you to listen and observe close. I swear you won’t want to miss this – scout’s honour.
Recommended Drink: A hot mug of cocoa, fire-side, to warm your heart.
Catch A Letter to Lyndon B. Johnson or God: Whoever Reads This First until August 24th at various theSpaceUK venues as part of EdFringe. Tickets are available through the EdFringe Box Office.
The piece will transfer to the King’s Head Theatre in Islington from the 4th to 14th September. Tickets are available online.
Phoebe Bakker
