Abbie Lowe
A gem of nostalgia about the cringiest time in the life of a teenage girl, and discovering whether that is enough to bond friendships for life. Tit(s) for Tat is like Angus, Thongs and Perfect Snogging if the Ace Gang decided to venture into therapy to solve their issues.
The company expertly leans into the constraints of the Fringe while poking fun at GCSE/A-Level drama pieces we all know, love and cringe thinking about. From the second a cast member steps on stage you know we’re in a high school flashback. With a simple flip chart showing the location or date, overly choreographed blocking, montages and an opening monologue setting up the show, it comically plays with niche drama-kid nostalgia. Director Leo Clasen blocked and created this piece in an engaging and comedic way.
The ensemble of characters reflects a lot of rag-tag friendship groups you find in year 7, without feeling like caricatures. Rosie (Katie Suitor), an aspiring drama school attendee who is leading the play within a play to make it perfect. Danielle (Hannah Bunker), token posh friend who never wants to apologise or acknowledge what she has done. Brash and dark Ruby (Eva Ceroni Marti) who always manages to say the most questionable things. Lily (Alice Keller), sweet and apologetic, who just wants to bake a cake full of rainbows and smiles so they can all eat it and be happy. Tied together with Emily (Lucy Cowie), a quiet and questioning Scot.
The heightened performances and comedic timing from the cast are faultless. It feels difficult to find a slick, natural ensemble and this cast is definitely that. The audience will always find a character they can relate to, and equate the rest to people that they knew. With flashbacks like creating a choreographed dance, A-level results day, and pre-drinks before some of your first nights out, it’s easy to compare to your own experiences.
The therapy scenes complemented these perfectly, with different exercises and activities for the girls to take part in, and Fanny the therapist, an appointed audience member was never a missed opportunity for a laugh. The interaction between the actors and audience member were among some of the funniest moments.
Katie Suitor’s self-aware script was crude and unapologetic, which is something I love and hope that more writers will embrace, instead of female characters being reserved or safer than their male counterparts. It was a great reflection of young friendships wrapped into a fundamentally funny script that flows well. However, I feel it falls down with the resolve of the piece. There is a serious moment of reflection and a darker story pulled to the surface which would have been interesting to explore. Instead of giving Ruby her moment to talk about the memory and more importantly her friends reactions in this therapy session, it almost gets swept away.
Where we could have had a truly healing moment of confession and support, we’re met with a brick wall put up by the character and a later scene where she looks back at it as if she wants to speak up, but it doesn’t go any further. Instead the pay off of the piece overall is a seperate throw away gag. It does speak for the small triggers for arguments in a long standing friendship group of fundamentally different people, but feels like a miss step. If the hard-hitting moment was leaned into, and the jokes pushed aside for a second, we could have really found the deep cracks of the friendship group and reached a tighter, more satisfying resolve. In this version, yes they made up, but at what cost? It all seems as if the story were to continue they would be sucked into that cycle again.
Support for Ruby’s story would have ultimately left me with a bitter taste in my mouth, rather than feeling like this unfortunately relatable story was used for plot beats when they needed an emotional moment. For any audience who have been through the same it could feel unimportant or pushed aside. The piece could have encased this serious story without taking away from the comedic heart that would have allowed much more of a journey for the characters at a transitional period in their lives. I’m not expecting this storyline to become all encompassing in the script, but I believe if this is written in there needs to be more care around the resolve, meaning and impact. This is the change I would love to see from Knockout Productions further development of Tit(s) for Tat.
With its early 2000’s nostalgia and comic genius, Tit(s) for Tat is one to catch for a lunchtime laugh.
Recommended Drink: A bottle of Lambrini to pre-drink with a mate.
You can see Tit(s) For Tat at The Space on the Mile from the 19th – 24th August, at 1.05pm. Tickets are available through the EdFringe Box Office.
Phoebe Bakker
Jake Mace
