Chapter, Cardiff, Wed 6 Dec 2006, 8pm, £3 on the door.
Mam – Lynn Hunter
Gwenny – Lisa Zahra
Boyo – Gareth Richards
Sid – Richard Shackley
Labourer – Gwyn Vaughan Jones
Chapter, Cardiff, Wed 23 Nov 2005, 8pm, £3 on the door
Ace – Arwel Davies
Bron – Lucy Lutman
Bri- Dean Rehman
Marshall – John Norton
Manny – Jams Thomas
Mati – Gerri Smith
Mary Anne – Anwen Williams
Griff- Gareth Potter
Mr Entertainment } – Alastair Sill
Welsh Rabbit, Rabbit, Rabbit, mocked the Guardian headline-writer when Ed Thomas’s play was first produced by The Royal Court in London, neatly conflating their Cymrophobia, their bourgeois suspicion of lyrical language and their celebration of being an unashamed Londoncentic arbiter of cultural taste – rabbit being one of those famously cockney rhyming-slang words for talking too much.
It was also, I think, the last time the paper correctly used the phrase Welsh Rabbit, albeit out of context, rather than the silly gentrification Welsh Rarebir which is now favoured in their food pages and elsewhere. Again, its denial of the social-history implications of the Welsh having to pretend cheese on toast is as good as the native rabbit which the English squires denied them, is part and parcel of the colonial mindset that helps explain which English (unlike Scots or European) critics just never got Ed Thomas.
It’s ironic because, as this modest revival of Gas Station Angel as a script-in-hand production reminds us, Ed Thomas’s plays are all about being Welsh and the tribulations therein.
We are reminded, too, of Thomas’s whirling and whimsical use of words and (like other Welsh playwrights) his fascination with the Underworld and that thin line between so-called normality and insanity, the world in which many of us live, the world of the imagination – and the right to live in that world.
After all, “to be Welsh in the twenty-first century you’ve got to have imagination,” says one of the characters in a line that seems at first like a self-deprecating joke but which resonates much more.
It’s a tale of two families, neither of which might be considered conventional.
Ace and his parents live in a house about to collapse into the sea and his mam gets the fairies mixed up with the men from the council.
Bron lives with her family not far away: one brother who loses it and disappears, another who confesses to being a psychopathic sheep-killer, another who is simply simple-minded and a dad whose darts don’t reach the dart-board any more.
Ace and Bron are the Romeo and Juliet figures whose story just might hold out hope for the future if they could only get past the secrets and lies of the past – familiar Ed Thomas territory.
The problem is that a play like this needs a totally committed cast, one that understands Thomas’s sense of humour, his metaphors, his lyrical pace and, in this ad hoc company, none really has had the chance. The constraints of these On The Edge readings, with only a couple of days’ rehearsal, also means that any sense of ensemble – absolutely crucial here – is absent.
It looked and sounded as if this admittedly complex script defeated director Michael Kelligan and most of the actors in terms of the narrative (it goes back and forth in time), the rhythms, the characterisation, the comedy and the tragedy. There are some good moments but they are few and far between.
Those that aren’t familiar with Thomas’s work would, I suspect, be puzzled on this evidence and those that are would have a job persuading anyone that this is indeed a marvellous play, all about identity and family and selective memory and love and imagination and, fundamentally, about Wales at the start of a new era.
For the allegories to work, we must first accept the reality of the characters and situations – and we can’t here. Despite some gallant attempts to find in the short time allotted some sense in this multilayered epic the company offers neither realism nor anything deeper.