The Bear and The Sh!tHead Review

As the second performance by Monium Shakesbeare debuts at theatres this month; Pawsome magazine received exclusive preview tickets to see the production in full.

If audiences are expecting a light and fluffy performance to follow up Shakesbeare's first './' (dot, dash) performance, they will be shocked to find that 'The Bear And The Shithead' bears no resemblance to the playwright's previous work. Moving on to the focus on themes of eqaulity, personal fulfillment; and transportation both morally and physically.

Set in the highly unconventional 'Limbo Street', is where the characters are incarcerated for the duration of the play; waiting for a never-approaching bus. Shakesbeare's opening relies heavily on characterisation and demonstrates the striking relationship between the eponymous characters. The Shithead himself, is portrayed by first time performer and co writer or the production Mark LeBear. Part of his influence bore the strong language throughout; a colourful display of 'f's' and 'c's' that is definitely not suitable for younger audiences. Whilst it does convey emotion in some instances, there are occasions where you could find yourself rolling your eyes at the prolonged and sometimes unecessary use of foul language and colloquial insults.

Shakesbeare himself said in interview: 'I want to call out the stereotypes, name and shame them...' And he has done so with the creation of 'the bent-cop' in this work. Not what you would expect from a traditional law enforcer, as the audience's heart bleeds (satirically) for the policeman suffering from a drug addiction. The visceral exposure given by veteran performer Sergeant makes lines such as: 'hooker hang from a butcher's hook,' chill the audience.

On top of Sergeant's pinnacle performance, there seems to be another fascinating, yet paradoxical character, in the form of the 'Bystander' played by Toucan. At first glance, we see an indifferent young spirit who wishes to remain distanced from the 'rebellion against the system.' As the scenes progress, however, the Bystander issues his blunt opinions on the various other characters and their respective predicaments.

Echoing themes from works of grandeur such as Milton's: Paradise Lost, the audience discovers climactically that 'Limbo Street' is really a purgatory, as the cast wait for a bus to take them to 'Heaven'; a bus that is never going to arrive. When asked about this decision to leave the characters without salvation, LeBear confirmed that: 'It's open to audience interpretation, it's all subjective anyway.'

The gradual evacuation of the characters, as they forsake their individual pursuits of prosperity and freedom from limbo, settling instead, to return to chasing their 'addictions,' paints a bleak picture of suburban life in a modern society. Each with their individual goals, yet not being able to succeed in the wider community.

'The Bear And The Shithead' provides a Holy Communion for the emotionally repressed and the traditional 'lost soul' with suggestions of lives trapped in nothingness, with satirical comments on how indifference means never achieving anything. The question on everyone's lips: 'What else is there to do around here?' poses the question in both the real world and that of the gritty drama that Shakesbeare and LeBear have created here.

By the closing of the final act, there is no hope in escaping the overwheling aftermath of: drug addiction, alcoholism, domestic abuse, familial dysfunction and promiscuity all dowsed in self deprecating overtones.

The Bear And The Shithead is in all good theatres (and some less respectable ones) from 1st March 2014