Fierce Notions, Smock Alley

There was a bluegrass, ‘Huckleberry Finn’ feel at the beginning, with characters lying around on what looked like wooden docks, trousers turned up, or too short, dirty clothes, and some instruments being held close, like guitars, a cello, a sax, even a tambourine. So, the cast will play their own instruments. Neat. And so, Ill Advised Theatre are back with some ‘Fierce Notions’, and, well, there really are many notions in Fionn Foley’s cautionary romp set in the land of Hibernia, told through Bawdy Shakespeare and classical theatrical stylings, with a few Irish-isms thrown in.

Milo and Ragnell are slaving away - literally, we are told, because they are slaves - at creating a water sculptor for the ruler of Hibernia, Austericus. The people follow Austericus willingly, something shown well during one of her numbers, and while they might have notions of rebelling, getting themselves pissed on Austericus’ wine without her knowing is the extent of their ‘uprising’. And we are on familiar territory. Until, they come across the Oracle’s message, which suggests Austericus’ time will come to an end with the arrival of a new leader. But when?

Instead of waiting, the two intrepid slaves decide to create – no, manipulate – that arrival themselves, and so in a Pygmalion like way, build up a Cod-stick seller to become the new leader. No need for detailed plans, just hit them with the emotion. But leading is more difficult than it seems.

What at first appears to be an anti-austerity piece, becomes a wider tale of populism and the slippery slide in can take, with people looking for easy answers and scapegoats. And in among them are the fierce notions of the title (a witty acknowledgement of it is also wonderfully added) and it moves through with a touch of music, dance, and long speeches that gives a flash reminder of the witticism of Yes, Minister.

The ensemble is bright in their performance, larger than life, as it demands, and in their a capella group singing, it has a fierceness and rawness that resonates. One such moment, as drunk, they contemplate the world and their actions. It is hard to pick out one member, as they do come across as a true ‘company’.

One of the best songs, sung by Asutericus comes and goes rather too quickly and some more development would be great, and you do wish the quality of the final song was more evident throughout. Naturally, there is rap, the impact and influence of Lin Manuel Miranda’s Hamilton echoing through to Ill Advised, as are nods to other shows. It is, though, more a play with music, rather than a musical, and some more use of music to tell the story would be placing them on an interesting track.

But there is still much to admire and enjoy in this piece – the slow-motion fight is excellently staged, the timing superb, and offset with the soft, well played piano piece, is a memorable moment – under the savvy direction from Sarah Bradley. Fierce Notions is a fun show, that will have you smiling, and it moves along well. It is also another stage in the development and progression of Ill Advised theatre company.