Paddy Campbell’s Wet House at Live Theatre is a promising start. But in spite of this, I have some misgivings about Live’s influence.
Like most new writing theatres, Live Theatre wants to build up relationships with writers they can call their own. Lee Hall has a string of successes at Live, as shortly to be demonstrated by the upcoming re-run of one of his many successes, Cooking With Elvis. More recently, Lee Mattinson has been building up a respectable following. But they both had to start somewhere. Every established playwright was once an untested one where the theatre had to take a gamble and hope for the best. Live’s last gamble was Zoe Cooper with Nativities, which was sadly a disappointment. So now, step forward Paddy Campbell with Wet House. Like Nativities, this is a play largely drawn from personal experience. But whilst Nativities tried to make an interesting story out of office politics – not an easy choice of topic, it must be said – Wet House dwells on the more interesting, and much darker, topic of a hostel-cum-scrapheap for incurable alcoholics.
There is a cast of six: three care workers and three of the many residents. Helen (Jackie Lye) is a jaded care worker disillusioned by a management that cares more about targets than people. Mike (Chris Connell) is an equally jaded care worker and ex-squaddie, who thinks this whole thing is a waste of time. Enter new recruit Andy (Riley Jones) in an unplanned change of career direction after buggering up his arts history degree. Probably the most accurate description given of the place was “like Dignitas, but takes longer, and without the dignity”. But Mike is the sort of ex-squaddie who spent little time promoting peace and understanding in warzones and a lot of time dangling IRA suspects out of helicopters, and he takes his style with him to the Wet House. When a silly mistake by Andy provides Mike with an opportunity to inflict his DIY justice on a sex offender resident, Andy’s life progressively becomes unbearable.