Olivia Hall-Smith, Bayley Prendergast, Monica Sayers play the speaking ensemble in Martin Crimps’ FEWER EMERGENCIES, with assurance. Their performances gained in confidence during opening night, and are bound to grow in style and collaboration as the season progresses. Crimps requires good timing in the fragmented narration that features in the three parts of the program, each giving perspectives on the subject of violence to children. One is a child in a disturbed household with a schizophrenic mother, the second involves random killings in a school, the third is a fitful fore-telling of the future of the child from the first part.
The short play has received a lot of positive attention over the past two decades. Crimps writes in a consciously prosaic, fragmentary style, for example constructing a conversational or narrative sequence by repeating and splitting an utterance into parts. If that comment sounds grammatical it is because the author continually, in a rather Pinteresque manner, uses linguistic devices to say what he has to say about how story tellers, or adults, relate to child violence. This produces a challenge all its own to performers – the language is so open ended, its references so decontextualised, its characters cryptically drawn, that the rules of acting could need to be rewritten. However the ensemble acquits the task well, adding energy and drama to their presentation.
Clay Crighton plays the child, first seen on a rocking horse on a bare, effectively lit stage (Izzy Morrissey) as the audience enters. Clay has a compelling presence in the physical contortions of the child in Part Three, and leads two song items (one a child ditty) well. The dissolving shift of light from six cams at the opening of Part One was arresting – more could have been made of this technique.
Is Crimps saying that adults lack empathy and expression when it comes to the covert violence against children. It is true many events of mainstream and social media – including current wars – can leave us feeling helpless, but that does not mean people lack empathy or involvement with whatever information is available. My colleague said she felt strong emotions after the play, and this has been recorded in reviews of previous productions. Personally the exposition style seemed too much of a puzzle, detached from the subject matter and stopping emotions. Harry Reid’s direction was focused, but a more serious tone, and darker lighting, might have integrated text and mood better.
This show will undoubtedly result in varied responses in its audience.
I saw the play at the Old Fitz on opening night, the 23rd July 2025.
