Big Bite-Size Breakfast Menu 2

James McLindon, Mark Harvey Levine, Angela Stern, Christopher Lockheardt, John Moorhouse, Annabel Wigoder

Bite-Size Plays

Pleasance Dome

From 02 August 2017 to 26 August 2017

Rating: *****

Review by Philip Fisher

Big Bite Breakfast is having a storming year. The second menu features six plays that go all out for laughs and get them in liberal quantites, which is a tribute to the six actors and director Nick Brice.

I Don’t Know by James McLindon

The idea behind this piece is simple. Billy Knowelden leads a squad of GIs chanting in traditional fashion as they march. His problems start when they start to question the nature of the lyrics, unpicking them from gender and transgender perspectives, zoning into the contemporary zeitgeist.

Scripted by Mark Harvey Levine

Rowena Gray and Thomas Willshire play a couple who discover that their day has been scripted by a mysterious outside force. This chilling scenario freaks them out until they test out rebellion.

Mama’s Eggnog by Angela Stern

Three siblings gather at 3AM on the first Christmas morning after the death of their mother. Minor disputes become something else after Rowena Gray’s Bellie, the youngest identifies the secret ingredient in her eggnog with hilarious consequences.

Stuck by Christopher Lockheardt

The simplest ideas can be the funniest. Two strangers played by Rosie Edwards and Stephen Laycock get stuck in a revolving door and have a wild time extricating themselves from an intimate situation.

Attack of the Killer Banana Spider by John Moorhouse

Billy Knowelden and Stephen Laycock play partners who discover a highly poisonous Brazilian spider in their fruit bowl.

The screwball comedy that ensues could be compared with the some of the best movies from the classic age of Hollywood funny men featuring such stars as Abbott and Costello and the Marx Brothers.

Ten Ton Truck by Annabel Wigoder

Thomas Willshire and Rosie Edwards play a couple whose garden is invaded by a mob in balaclavas. Their initial assumption that this is a post-modern art installation proves wrong, leading to much navel-gazing.