Six In The City
I nearly walked straight past La Riereta Theatre, it was so disguised in its spot in the heart of El Raval. A small theatre, but a young, lively audience filled it and did a good job responding to the unconnected plots of a series of six new one-act plays in Six In The City 2.
The problem with disconnecting plays is the lack of continuity and the failure of the audience member to capture the true sentiments of a performance. Since we lack the contextualisation of a single play, the audience needs clarity in these cases and, above all, good acting. Under the direction of Hunter Tremayne, the cast delivered.
The stylistic mix and blend of this series of one-act of plays, written by the director Tremayne, was refreshing. From the romantic fantasy of 'Deux Ex Machina', when a suicidal man meets the woman of his dreams, to the spy drama of espionage and revenge in 1941 Portugal in ''The 13th Witness', in which the multi-faceted Tremayne himself performed. Approximately 15 minutes each, the short plots permitted just enough time for the development of stories and characters.
The acting was strong, as was the writing. The devastating family secret that unfolds in 'If Only' was superbly executed by Addya Panayiotou in a convincing portrayal of confusion. Moreover, the poetic language of Ariane the witch in 'After Ragnarok', performed beautifully by Jessica Daigle, was enchanting. However, the somewhat bizarre closing piece, in which the audience were forced to listen to the out-of-tune singing and awkward air guitar playing of Alex Klein in 'Thunderbuck Ram', about a man and a boy who bond over the invention of a drink, was questionable.
With so many different play genres amongst the short extracts, there was something for every audience member to enjoy.