Knives in Hens

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On my way to see Knives in Hens I was trying to remember the last thing I saw at Perth Theatre.  The Theatre closed its doors for major renovations in 2014 but before that, I had seen some great plays and gigs within the walls of this beautiful and historic building.  As a geeky child, I was obsessed with Alfred Hitchcock, so my first visit was to see the stage production of Dial M for Murder.  In my twenties, I was lucky enough to see some amazing gigs including two of my all-time musical right up close in an intimate setting.  First, the amazing Will Oldham aka Bonnie Prince Billie and then Scotlands greatest living songwriter, Edywnn Collins playing an acoustic set after recovering from his stroke.  The Collins show was honestly one of the greatest gigs of my life, made all the more special because it happened in my own town.  It was great being able to see my favourite musician within five minutes walk of my flat!

Closer still till to Perth Theatre's hiatus, I re-discovered my love of legitimate theatre when I checked out some Shakespeare productions including Twelfth Night and a really excellent and edgy production of Bukowski's Barflies in the Theatre bar.  So to cut a long story short the last thing I saw at Perth Theatre was definitely Barflies... or was it a Panto?  Either way, when I arrived at the newly renovated site excited to see Knives and Hens I was simultaneously hugely impressed by the fresh contemporary look of the new facade and relieved by the familiarity of the original theatre.

As I took my seat after a quick latte in the Theatre bar I had time to briefly Review- Knives in Hens-latteappreciate the beautifully minimalist stage set before the play began.  It consisted of 3 stone walls, a stone ceiling and floor with two large circular holes cut out to represent the mill.  A few props were dotted around the set.  When the story fully unfolded it turned out that every single prop, from the writing desk and chair to the blankets on the ground and the five sacks of grain were integral to forwarding the plot in some way, which was a really clever touch. 

The language spoken by the three protagonists is equally deliberate.  The lights come up on the first scene and the female field hand played by Jessica Hardwick very defiantly declares "I'm not a field".  This leads to a conversation with her husband Pony William which is by turns both philosophical and hilarious.  William, ably played by Rhys Rusbatch counters "Don't have to be a thing to be like it... The moon's like cheese but it's not".   Language, how it is used and what it represents go on to play a major part in the story.  This is personified by the third character, interestingly the only person referred to by name, the Miller Gilbert Horn.

It's clear that the Miller is despised by the couple before we even get to set our eyes on him.  In 16th century Scotland, where Knives in Hens is set, a Review- Knives in HensMiller was legally entitled to 10% of all the grain he converted into flour which inevitably led to resentments.  Add to this village rumours about how Gilberts family died and insinuations from him about how Pony William came about his nickname and it's fair to say there is no love lost between the plays three characters.  The young woman is also both suspicious and derisive of the fact that the Miller owns a pen and uses it to journal his actions and thoughts.  "What do you write?" she spits, "Grind corn.  Stop Grinding Corn.  Grind Corn.  Stop Grinding Corn?"  Also, when the woman finally uses the pen herself the consequences (real or imaginary) are fairly dramatic.

It's during the scenes with the Miller that I first noticed the excellent sound design and lighting.  At one point grain pours down from above and is illuminated by heavenly light and accompanied by celestial music.  In fact, every aspect of the production impresses from the source material to the performances.  Jessica Hardwick, in particular, is a revelation.  Knives in Hens isn't necessarily the most straightforward play that I have ever seen but although it was challenging I wholeheartedly enjoyed it.  It was at times extremely funny, surreal and profound and it had a sort of Waiting for Godot vibe that kept everyone talking as they enjoyed their drinks and snacks in the bar afterward.

 

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