Review of ‘Second Best’: “Putting poignancy into accio”

London’s Riverside Studios hosts Asa Butterfield’s stage debut, starring in this new one-man play exploring the scars of childhood trauma through the most exceptional life experiences. Guillermo Nazara shares his views on the show, to let us know if its piercing, dark-marked narrative manages to cast a spell on the viewers’ hearts.

Family is not a happy place. We’ve raised to think the opposite, but that’s like enjoying the summer when you live in the UK – an act of faith. Stories about childhood trauma have been prominent in the independent scene since probably the dawn of the genre itself – to the point that if you weren’t abused, traumatized, or simply have an urge to whine about your decadent existence 24/7, your mental health might be too mainstream to be allowed into the welcoming realm of theatre.

But that’s what storytelling is all about. We want drama, we want conflict – and the extremer it is, the better. We love tales about underdogs, people who have it hard and that we can identify with from the comfort of our chairs (well, it depends on the venue), and that regardless of all the obstacles, backstabbing, and tumbles they must go through, they always find a way to carry on. If that’s what you’re looking for, there’s no need to look any further than into Studio 2 at London’s Riverside – for this has to do with a true survivor; or, in other words, the boy who lived.

Film and television star Asa Butterfield has landed on the off-West End stage with a new play, a different play – and definitely, not just any play. Second Best, the memories of a soon-to-be father recounting the events of his repressed childhood. It’s a premise we’ve witnessed so many times I’m surprised a plan for audience psychiatric care has not been implemented by the Government yet (well, no, I’m really not). And yet, the degree of verity, insight, and individuality in this one is so remarkably high, it almost feels like the very first time you come across this type of narrative.

Written by Barney Norris, the play follows the trials and tribulations of Martin Hill, a child acting talent who gets shortlisted to be part of one of the biggest international film phenomenons in history – nothing but the star in the upcoming Harry Potter movies. Surprise, surprise – he didn’t get the job. That wasn’t a spoiler, you knew it was coming – no need for a rad cliffhanger. Devastated by the news, followed by the most harrowing turn of events in his personal life, he will go on a journey of self-discovery – where he will ultimately have to face not only his own inner demons, but the ones the outside world has placed along his path.

There’s not much to say about this plot line apart from how terrifically intelligent the concept is. It’s an idea that works on both a commercial and artistic level, and they both merge and interconnect with each other in perfect tandem. On the one hand, nobody can resist the spell of Harry Potter mention – it just creates so much expectation on its patrons (you know you love me for that one). On the other, the popularity of the franchise makes the character’s suffering accessible to basically everyone. From the start, we can all understand the magnitude of his frustration, we can let our mind wander (*smirk*) and imagine how it would feel to be in his shoes; and from then on, it doesn’t take long until we find ourselves fighting his own battle.

Director Michael Longhurst also helps keep the script’s strength in full solidity through his allegorical approach. A barely furnished, nuclear white-coated room, shed with sterile lighting serves as the open canvas for his visually pungent take – relying on carefully crafted blocking and piercing symbolism to enhance the play’s crudeness through metaphorical inputs. The use of the scenic space is handled with utmost command, keeping the pacing at a flawless cadence all the way through, and reinforcing its dramatism with a sharp, atmospheric undertone that accentuates the emotional significance of every element.

As a result, the stir you’re left with after the performance (a sensation which can only be described as having your heart pinned under a rock) stills persists hours later – and I guarantee it’s continuing to do so by the time I’m typing this review.

It’s an extraordinary achievement that’s secured and elevated by Asa Butterfield’s totally impeccable rendition. Making his stage debut, a complete shock if we consider the immense quality he brings to such a demanding role, his portrayal is absolute masterclass of fine acting – delivered with confidence, stamina, and charm, and exuding honesty and depth through a character whose complex nature could easily lead to a camp, exaggerated version of him, but which Butterfield manages to keep genuine at all time.

Regaling viewers with an exquisite interpretation of a bewitching narrative, Second Best comes as a top-list option in this month’s theatrical offer – leaving guests at a petrificus totallus state through its gripping depiction of grieving and overcoming the past’s most ex-crucio-ting wounds. Shrewd, penetrating, and tremendously relatable, the play brings everyone’s story into the most unique narrative no-one in its presence could avoid being haunted by. It’s a bewitching jaunt you don’t want to miss out on, for it would an unforgivable curse not to come see it.

All pictures credit to Hugo Glendinning.

Second Best plays at London’s Riverside Studios until 1 March. Tickets are available on the following link.

By Guillermo Nazara