EdFringe Review: Tale of a Potato

Italian tabletop theatre specialists, Batisfera, have a second show in town, running back-to-back at Zoo Playground this Fringe. Whilst ‘The Gummy Bears’ Great War’ offers an excellent study of a society in crisis, ‘Tale of a Potato’ narrows the focus down to one life, one potato, and follows it through from life to death.

When Valentina Fadda introduces ‘The protagonist’, a potato with nails for eyes, and its bottom cut off so it can stand up, it’s cute but still *just* a potato. She is at pains to tell us it was born like everyone else, and exists just like everyone else, i.e. this is just one potato amongst many.

Its world is a simple wooden table, which they share with others. Beyond is only darkness. This potato has tuber parents offering a confusing mix of expectation and affection, before entering the worlds of work and romance, full of other vegetables (and one villainous fruit) with eyes. Writer and Director Angelo Troffa is certainly ambitious to give the protagonist a rich but…and this is important, an unexceptional life.

Here and there, Fadda will hint at supporting characters being the protagonists of different tales. In our potato’s life, they are an acquaintance, or perhaps a friend, or even an enemy. Her narration and character-voicing is augmented by a disembodied voice, adding yet another layer of sophistication. The clarity and pace of the story are a testament to Troffa’s clear direction and Fadda’s skills as an object puppeteer.

Enriching the narrative further, Fadd periodically stops to ponder what the potato is thinking or feeling, or might say at any given moment, whether facing triumph or betrayal. When one chapter ends, she will ask them if this is their story, only to be told, ‘No.’

“The clarity and pace of the story are a testament to Troffa’s clear direction, and Fadda’s skills as an object puppeteer.“

However, this is no human story; it’s the life of a potato. Free of human constraints, Troffa sets the youthful potato upon a magical quest to rescue their beloved. It’s a simple but effective allegory for the extreme emotions of the young and hormonally charged, and supplies some surprising moments of character-comedy. Look out for the wise old pepper in particular.

But as life goes on, so the magic fades and problems creep in, and compromises are made. The protagonist isn’t always all that heroic, which makes them all the more real. However, if wonder is giving way to compromise and heartbreak, Batisfera retain the right to surprise with miniaturised practical effects. It’s not overdone, so when they pull out the crafting stops, it elicits audible ‘oohs’ from the gathered audience.

Ultimately, ‘Tale of a Potato’ is a simple, universal story, told exceedingly well. It took me a little to understand why it’s quite so effective, only to realise that it’s down to the use of living – or once-living – objects. Yes, you could tell the same story with shadow, or even glove, puppets, but whilst they must be brought to life, ‘Tale of a Potato’ is imagining a life for a potato which had one of its own.

Brava, and Bravo!