Peter Smart's Front End, Back End @ Into the New

There has been a great deal of hot air on this blog since November: the lack of theatre to review caused me to retreat into a big load of critical theory that I barely understand. However, maybe it is time to, like, actually, use that theory for a purpose: inform the theatre writing that is supposedly my passion.

Peter Smart's Front End, Back End @ Into the New

Smart's script tells the story of how he got into trouble at the Royal Conservatoire by spilling paint on the floor of a dance studio. It is performed by his flatmate, who had never seen the script before going on stage, and has some cheeky interludes in which the performer makes some (clearly scripted) comments on what he is reading and his relationship to Smart.

From the beginning, Smart reminds the audience that they are watching a staged event: the technical team set up the microphone on stage, at length, then Smart appears on video to excuse his own absence. The performer, reading unsteadily from a folder, is consciously 'bad at acting' - he laughs at the jokes, gets distracted and has weak vocal projection. It is crafted to appear unprofessional and uncomfortable.

The story of the poster paint and the damaged floor is relayed through the reading of a series of emails between the concerned parties. The daily life of the Conservatoire echoes in the conversation, with mentions of relevant health and safety issues, the uses of various spaces and the social consequences of Smart's misadventures (he becomes the butt of various jokes).

As interludes, music which was intended for other productions within Into The New is played, with no commentary beyond referencing the source performance which intended to use them (but did not).

The self-conscious detailing of student life is filtered through Smart's flatmate's awkward presentation. The events are prevented as facts.