Newcastle University Theatre Society’s newcomers production, ‘No Quarter’, is an exhilarating Odyssey through grief, brotherhood, David Bowie, modernisation, and lots and lots of drugs. At its core, Breeanne Moody’s production follows Robin, a failed musician turned hedonist, as he searches his crumbling country house for ways to fill the void left by the death of his unknowable mother. Don’t let this morose sentiment deceive you, though. Polly Stenham’s play packs emotional punch and ridiculous hijinks in equal measures. Reeling from grief, Robin finds himself face to face with a band of kooky characters who attempt to steer him through grief. A brooding drug dealer, a spooky set of twins, and a straight-laced police officer all get brought into the fray of one man’s destructive grief.
He perfectly grasps the unhinged, Saltburn-esque swagger of the character in his manic moments and channels a palpable vulnerability in his lower moments.
The anchoring performance is given by Louis Douglas-Miller as Robin. He perfectly grasps the unhinged, Saltburn-esque swagger of the character in his manic moments and channels a palpable vulnerability in his lower moments. For me, the emotional core of the play is held in the relationship between Robin and his level-headed, MP brother Oliver (Libby Johnson), and their vastly different manners of grieving. Johnson expertly channels a sincere fear for Robin, as well as a fear for the rising political turmoil, in her very mighty role. Scarlett Delacoe-Eyre and Lily Marshall give a brilliantly calibrated performance as slightly uncanny twins Scout and Arlo, both of whom vie for Robin’s attention. Jemima Wright also excels as Robin’s confused, ailing mother, as well as offering glimpses into the woman she used to be. Savia Campion perfectly encapsulates Tommy, Robin’s nonchalant drug dealer. Emily Porter plays Robin’s young admirer with an impressive naivete. The play’s late entrant, Rosa Minnion Craggs as Robin’s cousin Esme, a trainee policewoman, offers a brief moment of sanity amidst the madness.
The production is brought to life by a production crew led by producer Miles Holland, who was clearly brimming with passion for this project. As audiences descended into the Cluny, we were welcomed with tables cluttered with various bottles, trinkets, and bric-a-brac, and portraits of the family lined the walls. These touches by Props Manager Peter Smith add an immersive touch to the experience, which already makes you feel like a fly on the wall. The more spectacular moments of the show (one in particular is set to the tune of ‘All My Friends’ by LCD Soundsystem) are executed magnificently by Tech Director Finlay Hunter and Stage Manager Will Swift, who really rose to the challenge of such a demanding script.
It was clear that not only were the society’s members an audience for their peers, they were also a community.
Arguably, what was even more affecting than the play’s material was the community of students, friends and family that emerged at the performance. It was clear that not only were the society’s members an audience for their peers, they were also a community. At the final bows, cheers erupted, and audience members were so eager to congratulate everyone in the team. I feel similarly inclined to applaud Breeanne and the team on a wonderful, lovingly executed night at the theatre.
It was a smashing time, no pun intended.