REVIEW: BED by Ben Donaghy / Camden Fringe at The Hen and Chickens Theatre 3 -5 August 2024

‘brave, vibrant, sharp, and referential comedy’  ★★★

Many great works of art centre around a particular object. The bed, for instance, has itself had a significant influence upon the fine arts. Among those who have explored its wonders are Rembrandt and Carpaccio, pioneers of the Dutch and Spanish golden ages, respectively; Manet and Van Gogh, who departed from realism to challenge the world through Impressionism; and, a century later, Robert Rauschenberg and the Abstract Expressionists, with their methods of complex storytelling through the use of controversial iconography made up of found objects and images from the media. Fast forward towards the approaching millennia, and we are introduced to a set of artists who graduated from a particular art school in South London during the mid-'80s, whose influence, upon the cusp of the digital age and the booming stock markets, would only truly be felt across the next decade.

Loosely inspired by Tracy Emin’s seminal artwork "My Bed" (1998), solo performer Ben Donaghy has devised a brave, vibrant, sharp, and referential comedy that would fit well and deservedly within any established fringe theatre network.

Our central character, like Ben, is an actor, a dreamer, and a romantic longing for something more. Through the depiction of memories, experiences, and moments where memory itself becomes confused, we are taken to destinations from across the world and sharply brought back to reality by moments of stand-up and audience interaction. What must be said, and is certainly beyond the realm of debate, is that our protagonist has a big heart, and their desire for acceptance and understanding in navigating an often confusing world feels universal. As much as feelings play a part in our attachment to the world and those around us, objects can have an equally greater impact. Object-play should have featured a more prominent role within the dramaturgy, as it’s within objects—such as ephemera from a loved one, childhood dresses, toys, and empty pizza boxes from the morning after the night before—that history resides. These objects can hold the key to unlocking the true meaning and impact of our precious memories and experiences.

At moments, there seemed to be a slight disconnect between the form and content of the piece. Transitioning between past memories and present stand-up comedy routines felt tricky to manoeuvre. This isn’t to say the narrative lost its way; rather, the vehicle we took to get us there could’ve avoided some unnecessary diversions and pit stops. The play seems to come most alive when Donaghy breaks the traditional performance rituals that theatregoers are often accustomed to. In one particular moment of contemplation and the realisation that life isn’t always what it seems, the bravery of this choice is evident, deeply felt and elevates the piece to a higher standing.

As this is Donaghy's London theatrical debut—and a solo show at that—congratulations are in order for him and his collaborators. Now is the time for reflection. After which I would then task this creative team to see what they can bring to the festival next year. Like the great artists who have come before them, can they too push the boundaries of storytelling and present something that will challenge our perception of memory, experience, and, most importantly, of performance.

BED Written and Directed by Ben Donaghy / Camden Fringe at The Hen and Chickens Theatre Bar, 3rd-5th August 2024

Choreographed by Liv Bell and Ben Donaghy

Light & Sound operated by Paul Donaghy

Produced by Ben Donaghy, Donna Donaghy, Paul Donaghy and Julia Dixon for Brandonville Productions

Additional voiced provided by Stanley Cook

Youtube: @bendonaghyyy

Reviewed by Playwright/Dramaturg Tommy Pullen