Bristolians are arguably some of the luckiest people around when it comes to finding top quality theatre in their hometown, and tonight Nowt2Do.Com moved out of the safe havens of the Hippodrome and Old Vic and into one of the city's hidden gems - the Tobacco Factory. More well-known for their Shakespeare seasons, the Tobacco Factory have a new programme running at the moment with some new playwrights providing the material. And so it was that we saw the world premiere of Mark Breckon's debut effort, "The Camp".

Set around a labour camp in England in the 1930's, the play takes us into the lives of Joe McGinty, a troublesome Irishman, and Bill Davies, a slightly disadvantaged Welshman. Forced to do thirteen weeks' labour or lose their dole benfits, the two are forced together into a hut and do not get on too well.

Things get worse, as the "nancy- boy" actor Alan deoderation Wolf is then put into their hut as well, but it is not he who the two need to fear, it is the Camp's Manager, Browning. The set follows the old "simple but effective" axiom, fairly plain but it does the job and doesn't get in the way of anybody's enjoyment of the piece - perhaps more important since it is done on a thrust stage. Lighting too is not needlessly over the top. The whole gives an impression of just the right amount, everything in moderation.

Things at first seem fairly straightforward and even at times a little predictable to begin with, but that certainly does not take anything away from the occasional brilliance of the script, moving between some very dark moments and a light-hearted jibe in an instant, the humour is frequent and laced with something more sinister, as indeed is the whole play. The first Act rolls along at a pleasing pace and the sinister air which is to come to the fore later is kept beneath the surface right up until the last scene of that Act. During the second Act, though, the view is far less pleasant and fancy-free. Too give away the ending would, as usual, spoil it, not to mention defeat the point of reviewing it, but it really is more than a little harrowing. Even here, though, where there is death and love lost and dreams shattered, Breckon's humour comes to the fore in the most unlikely of places. It is this which is the most wonderful thing for me, the way in which he can draw the audience in to the point where they can share the character's jokes even if they are a little uncomfortable.

The cast were all very strong and had a good grasp of their characters. It's getting almost boring saying this now, but such is the strength of local theatre. For once, however, there did appear to be a star whose light shone a little more brightly (just a little, mind you), and this was Brendan Fleming as McGinty, who ran the show for long stretches and yet never overdid anything or started hamming things up, but kept things exactly right.

Overall, there really isn't anything to put this piece down on. It doesn't yet have quite the presence to really grab the attention and hearts of the audience right the way through, but it does for long stretches and the potential is definitely there. This most Orwellian view of what was, after all, Orwell's period, has a power and intelligence just below the surface that could well come through fully in future productions, or maybe even later on in this one. Whatever happens, I for one will be looking out for Breckon's name on the new programmes in Bristolian theatres in the future, and you should too. Go and see it. Now.

This is a Show Of Strength Production, and a blooming good one at that!

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Ticket Prices:

£6 to £10 with concessions available

 Performance Times:

Monday to Wed evening's at 7.30PM

Friday and Saturday evening's at: 8.00PM

Saturday Matinee at 3.00PM

Aftershow Talkabout: Thurs 11 October

Matinee Sat 13th Oct

Bedminster Bargain:

Wed 19th or Thurs 20th Sept all seats £5

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