Review of ‘Cloakroom’: “Hangering in there”

The Camden Fringe Festival welcomes the world premiere of Emma Cater’s newest comedy, set around the bitter conversations between two theatre ushers during their break times. Guillermo Nazara shares his views on the show, to let us know if its clothes-studded script ends up putting on the clamps.

Have you ever wondered what secrets may dwell within another person’s seams? You have? Good – here’s a psychiatric hotline. Call RIGHT NOW! But to be fair, we’ve all experienced, once a while, that burning twinge of curiosity as for the secrets that others may carry in their pockets. I, for once, wonder if those whom I’ve trusted with my personal belongings every time I go see a show might have fallen into the same temptation. But then I remind myself of the virtue of giving people a chance – after all, the anthrax would have made its effect otherwise.

Don’t worry – this is not the kind of humour (because I was definitely joking…) you will find in this play. But you will, for sure, be given a few good moments to laugh. Last week, the Camden Fringe Festival welcomed the premiere of Emma Cater’s newest piece, Cloakroom. There’s no need to explain where it happens. And hardly any more details required regarding what it is about. Two women working as part of a theatre’s front of house team. As the house lights dim, their spotlight is about to fade in on their own little stage – as they’re about to give their ultimate performance: the one of their lives.

Built on a rather robust idea, the script is able to lure us in through a promising premise – enticing us through a well-defined comedic duo whose potential, given the right approach, could actually meet no bounds. And though, in part, such effort is accomplished, a great deal of its clout gets drained out, most sadly, by what, in the end, feels like a watered down version of its true essence.

Developed upon two clashing personalities which, nonetheless, exude tremendous rapport, the possibilities both characters flaunt for a most memorable impression are  practically unlimited. However, most of these prospects are hardly realised through a script that, though enjoyable, tends to look away from all the opportunities it constructs, but almost never solidifies. In addition, though the personages are presented with quite an introspective, progressive arc, the pacing does not allow for many of its elements to fully unravel – giving the sense of moving in too abrupt away, while also being cluttered with too many themes to be explored in roughly an hour.

Co-directed by Charlotte Peters along with Cater, both actresses’ renditions are, by far, the strongest asset of the whole montage. Starring Carolyn Backhouse and Nicky Goldie, their much compelling interpretation, both sincere and magnetic, serves as the definite driving force throughout the entire journey – providing the dialogue with extra zest and stamina, and creating a much more beguiling nuance than what the writing (despite being moderately entertaining) can render by itself.

A laudable first attempt at a concept that’s yet to unleash its final prowess, Cloakroom sets up a good basis through an inviting gallery that boast both dramatic and humorous items, but struggles to hone them into a more resolute, satisfying outcome by forgetting some crucial components in the lost and found box. Currently closer to a rough draft state, the piece could eventually transition from concession to VIP content if applied the right polish. As of now, it’s amusing and gentle. But when it comes to comedy (and pretty much anything else), no one can resist a good edge.

By Guillermo Nazara