BY SAMUEL J. COX
Trampoline, presented by Weeping Spoon Productions, undersells itself in it’s advertising. The play was an unexpected joy, and a gem of the theatre season.
My first time to The Blue Room theatre, I was instantly smitten with its hipster vibe, cheap drinks, and charming décor. The play was hosted in a sparse, intimate auditorium, with scarcely three rows of seating. It felt as though the audience were intruding upon the action, spying vicariously upon a very personal series of events.
Shane Adamczak, who also wrote and produced the production, plays the socially inept and immature Matt, who struggles with a condition in which his vivid dreams manifest themselves in reality. Maladroit, though charming to observe, he flounders from one therapy session to the next, accidentally driving away the human contact he desperately yearns for by spurting out the details of his disturbing dreams. When he meets Kelly (Amanda Woodhams), the girl-next-door, things change. Their courtship is saccharine at times, the play’s only weakness, but otherwise the perfect instigation of Matt’s coming of age.
Pitched as a black comedy, a wealth of humour is sourced from Matt’s condition, and the play is unceasingly hilarious. The three-person cast were incredible, clearly experienced performers, who immersed themselves in their roles and drew the audience into the tale from the very beginning. There were few props, the key of which was the titular trampoline that unites the lovebirds, which meant it would have been very obvious if the three performers weren’t up to scratch. The production’s tone and content was diverse. Although first and foremost a comedy, it was at times poignant and thoughtful, drawing upon sombre themes such as death and familial abuse. It seemed as perfect an embodiment of Adamczak’s vision as is possible.
Both Adamczak and Woodhams sing and play the guitar, proving themselves double threats. Ben Russell was essential to the hilarity and rounded out the ensemble. He displayed a diverse performance, acting the part of a multitude of supporting roles.
The 60-minute play was performed without a hitch, and was, and is likely to remain, the most enjoyable hour of my week. I cannot recommend this production more highly.