All Thumbs, International Bar Theatre

Lena likes to talk about body parts as if they are real people, with feelings, imaginations, like ears getting pissed off when you dye your hair, after all, they have no say in it at all. With this established, it is no surprise that she hears the voice of a thumb calling out to her. The thumb in question is floating around in a glass jar in the computer lab where she works as a cleaner. Naturally, she responds. It could be her imagination, or perhaps it is the thumb itself. The idea of growing it back into a man crosses her mind. Naturally, she does that as well. As Lena tells us the tale, there is a packed cardboard box to one side, a few items leaning against it, and it has something, Lena tells us, to do with this thumb.

The imagination of Lindsay J Sedgwick is working over time, creating Lena and her world of work behind the perimeter security fence in this entertaining and enjoyable play. On the surface it is a funny idea, but of course in the world of cloning perhaps there is relevancy too, but then maybe I am reading too much into it.

The focus is on Lena, in this one woman show, a cheeky type of person, with a glint in her eye, strength in her, but also a sense of loneliness as well since Eric left. There is an attempt to catch the eye of one of her co-workers, even wearing heels to work at one point, but it isn't paying off. Then there is the thumb, well that might be a different story, as she conjures up the image as much in her own mind as with the lab machine she places it in to grows it back. 

The director and performer are the one is this short forty minute play. Julie Lockey gives Lena a good sense of comic timing, expressions that are knowing, and at times counter to Sedgwick's direct, well written lines. Comedy is something Locke does well, giving a serious, yet quirkiness, to Lena that makes sense; she talks to thumbs after all, and by the time it arrives, it doesn't feel odd. Watching Locke work, giving a feeling of odd Victoria Wood type characters, there was a sense that taking on a Willy Russell role might be an intriguing step. 

Sedgwick's craft is well defined here, and she gives Locke good material to work with in what is a piece that is a little wacky, but quite grounded at the same time. Keeping it short is also a good idea, although there was a feeling that the premise and character could be mined a little bit more. In the end, it is entertaining, doesn't flag, coupling well with Locke's wonderful comic timing.