by Diana Miranda

Forrest Gump’s mama said it best: “Life is like a box of chocolates. You never know what you’re going to get.” Featuring ten short pieces that delve into the tapestry of human experiences, LIFE: The Beginning, the End, and Everything in Between reflects precisely that variety. Produced by Northern Spirit, this eclectic evening of new writing at The Lion and Unicorn Theatre has the creative energy of a poetry slam and a scratch night put together.

From spoken word to body-led pieces, wholehearted three-handers and wrenching solo performances, the event features an assortment of theatrical treats whose stark contrast between one another delineates each piece’s unique tone. The stories put characters front and centre, diving headfirst into the spectrum of emotions that connect us all as human beings.

The night kicks off with Natalie Sanderson’s “Popcorn” (performed by Sanderson and Mark Shaer), a two-hander giving Waiting for Godot vibes that presents a doe-eyed young woman and a taciturn man chatting aimlessly about purgatory over a bag of popcorn. Sanderson drives the performance with energy both comic and sweet, and, while the big reveal comes a bit too sudden, the pair’s encounter is intriguing.

Next comes “20 Per Cent” by David Brady (performed by Nance Turner), a poetic piece that casts a soothing spell thanks to its rhythmic flow and wholesome message. Turner’s earnest performance and powerful gaze make the piece all the more uplifting. She locks eyes with the audience and brings us closer to Brady’s call for a world with more kindness.

Alby Stockley’s “Bus Wankers” is an unadorned piece about homelessness and the absurdities of the social system that perpetuates it. Honest and insightful, the story is charged with indignation, although a more varied pace and deeper emotional engagement could enhance its impact.

Then came “I Used to Help” (written and performed by Giften Blue Etienne), a gutting monologue about addiction recovery that can only be described as hyper-realistic. With nothing but a chair under the spotlight and vulnerability as the main costume, a man lays bare his memories to narrate how best intentions may go awry as we aim to help others.

Gabrielle Beasley’s “A Fun Office Nickname” (performed by Emily O’Mahony) is an unapologetic piece tinged with Bridget Jones colours. This short dramedy navigates work relationships and life’s curveballs – from dating to health issues. It’s hard to stay what’s more delicious, O’Mahony’s charisma or Beasley’s sarcastic writing.

Temple Cundall’s “Anthem of the Rogue Hair of Death” is an unabashed two-part poem about battling the signs of ageing. Fun, daring, and empowering, Cundall’s performance is a celebration of bodies in all their ageing glory, complete with a dazzling costume reveal to shush anyone who dares condemn decay.

Josh Anderson-Grey’s “The Plan of My Dreams” (performed by Anderson-Grey, Joseph Quartson, and SJ Temi) follows a thirty-year-old woman torn between a stagnant career in politics and a promising theatre job. While a more authentic delivery and nuanced writing would bring the piece to the next level, its straightforwardness will resonate with anyone facing a professional crossroads.

“In Yered” by Taylor McGuire reveals the emotional and mental health struggles of a rugby player after suffering an injury (yes, they cry too). Heartfelt and gripping, McGuire’s raw performance and deft multi-rolling move us to the core as we try to pin down the motives behind the player’s self-isolation.

Poet The Jules’ “Breathing” blends spoken word with hypnotic movement in a piece of physical poetry. Poet The Jules traces life’s road from our first to our final breath. An aesthetic mixture of punk, clown and meditation, the piece adds a refreshing flavour to the evening.

Last but not least, James Lewis’ “Ryan” (directed by David Brady and performed by Oliver Nicholls) follows a young man with a heart condition that has confined him to a hospital. The writing traces the man’s thoughts as he comes to terms with the hand life has dealt him, and the piece could hone the energy shifts to elevate the emotional journey in an otherwise heartwarming story.

A multi-flavoured theatrical experience, LIFE: The Beginning, the End, and Everything in Between reminds us that storytelling is what makes us human and a truly powerful tool of connection.

This was a one-off performance on 21 July.

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