EdFringe Review: Bellringers

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Where and when is ‘Bellringers’ set? Somewhere in rural England, and no idea. The cassocks and simple clothing suggest the Middle Ages, but the dialogue has 21st-century sophistication. All we do know is that the world may be ending, a titanic storm is approaching, and Clement (Luke Rollason) and Aspinall (Paul Adeyefa) have been sent to a belfry to ring the church bells. Local superstition holds that the bells can dispel the storm – the only problem being that the bellringers are subject to a catastrophic mortality rate. So there’s a rota…

A simple set works a treat, the bell ropes suspended above, a constant reminder of imminent fate. Beneath, Daisy Hall’s intimate, funny, and heartfelt text combined with Rollason and Adeyefa’s wonderful performances make for a fascinating apocalyptic tale.

And apocalypse is no exaggeration: raining fish are killing the unsuspecting, whilst mushrooms seem to be aggressively claiming the world – including the people potentially. If Aspinall’s mind has turned to religion, it’s not so terribly irrational – even if Clement’s atheism remains untouched.

The nature of the calamity provides plenty of scope for laughs and tears, between stories of knife-wielding rat-catchers and memories of a constantly growing collection of zapped loved ones. Clement’s particularly dry view of the world also contrasts gorgeously with Aspinall’s more intuitive outlook.

The uncertainty of the hangman’s nooses awaiting them makes for a singular conversation. Death looms but it’s not certain, and the possibly condemned don’t have to think of it until the storm is nearer, so keep counting those heartbeats between the lighting and the booming thunder. In between, talk of anything else: mushrooms and faith, love, and gossip.

Director Jessica Lazar negotiates the shifting tones of the play deftly. Throughout, whimsical self-distration slips into foreboding and back again. It could feel awkward, but instead simply reflects the roiling emotions of the protagonists.

Rollason is particularly made for his character, down to his wide-set gaze and sardonically shaped mouth. It provides him with superior ‘peripheral vision’ he assures his friend…like a rabbit observes Aspinall. Cue a quick discussion on whether this makes him more prey than predator, evolutionary-wise. It’s the sort of chat only the closest of friends, or indeed lovers have.

Hall doesn’t elaborate on the outside world’s attitudes towards homosexual relationships, or whether our friends could or would be more given the chance. ‘Bellringers’ is chiefly concerned with true friendship in the face of disaster than it is interested in the physical details.

Together they look for hope in a world which seems to be falling apart. Hope they find in each other, their community, and the land which will survive them all. Does the play come up with a compelling reason for them not simply running away? You decide. For me, our two heroes are just a little sophisticated in thought to ultimately buy the ‘bells cure storms’ kool-aid, but peer pressure is a b*tch.

Nevertheless ‘Bellringers’ is an interesting and entertaining new play from an exciting new playwright.

Featured Image: Alex Brenner

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