Review: MEET FRED, UK Tour

Kirsten McTernan

Currently embarking on its 10th anniversary commemorative tour, viewed in the intimate setting of the Weston Studio at the prestigious Bristol Old Vic. A suitably community focussed venue, Meet Fred. A deceptively simple but incredibly cleverly written piece that is both poignant and powerful, directed by Ben Pettitt-Wade. Brought to the stage by Hijinx, a Wales based inclusive theatre company, that prides itself on “creating outstanding performances with learning disabled and / or autistic artists on stage and screen.” In association with blind summit, namely puppet dramturgs Tom Espiner and Giulia Innocenti. 

Fred - a small cloth puppet, has no facial features or detail aside his stitching, yet this story told through the puppet itself really makes you believe in Fred as a person as we explore contemporarily relevant social challenges comedically but also sensitively. 

We see here tabletop puppetry using a traditional Japanese Bunraku-Style, modernly adapted, bringing Fred to life using three operators at the same time with puppeteers fully visible onstage. Nicholas Halliwell as the head / voice delivered a very engaging performance with Fred’s other components controlled by Llŷr Williams, and Jennie Rowling on Legs. These three puppeteers operated meticulously, Fred’s gestures and physical communication was faultlessly believable when shaped around the labours of being alive, visually representing physical limitations and possibilities, interjected with the weightlessness of being supported and having your needs met. Professional actor Gareth John who has Down’s syndrome, as part of his on and off stage role in this piece, challenges stereotypes and represents expanding inclusion and empowerment and was a true and authentic asset. 

This is a Brechtian style play, forcing the audience to comprehend multiple societal barriers. Themes including disability rights and the overhaul of the benefits system. The subject nature is one that can be sensitive and gritty but through the audience's empathy with Fred as a character this is contextualised well. Breaking the fourth wall occurs as the actors speak directly to the audience at strategic intervals, alongside episodic music being used to encourage reflection and support the narrative. 

The minimal but functional and purposeful set reflects this style of theatre also, with the fixed backdrop being a chalkboard of possibilities. This is actively interacted with and evokes both wonder and tension from the audience as we follow Fred becoming aware of his reliance on his puppeteers and their relationship with him shifting fluidly between collaboration and control of his independence. Fred challenges the notion that “If everyone followed their dreams there would be no one to make the sandwiches” as he is attempted to be downtrodden by the job centre. 

Rice is widely featured as an active prop and cleverly depicts multiple functions, alivening the scene, with “Rice is water” being a key metaphorical representation with deeper thematic meaning. The rest of the set and props being simple objects such as flight cases and chairs, adorned with key elements to place the setting.

Irony, emotional cardio and an unexpected emotional investment in a feistily inspirational piece of cloth. 

**** Four Stars

Reviewed by Claire Baker

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