Review: Writer’s Block

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ONE of the first lessons you learn as a journalist is to ‘kill your darlings’.

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You can write a sensational piece of prose to describe an event but if it doesn’t tell the reader the story succinctly, then it has to be chopped.

With one act plays Riverside Drive and Old Saybrook, which together form Writer’s Block, you can’t escape the feeling that they were darlings that Woody Allen couldn’t bring himself to kill.

There are the usual witty Allen observations, awkward romantic situations and painful over analyses but the stories never really get off the ground, in spite of the cast’s best efforts to inject vigour into proceedings.

In it’s current form, Riverside Drive verges on the tedious. The actors do their best to get to grips with the verbose script but Director Suzie Marshall needs to inject some more physical energy into the encounter and workshop the actor’s vocal rhythm.

Old Saybrook fares better but it’s superficial stereotyping leaves the actors very little room to develop convincing characters that really connect with the audience.

When an author shoehorns in such an awkward, uncomfortable plot twist midway through as show as Allen does in Old Saybrook, it’s a massive red flag that all is not well.

The Edinburgh Theatre Arts company deserves a far better script to challenge them.

Run ended