In the post-COVID era, there haven’t been too many ‘new’ artistes (or at least people previously not on ‘my radar’) that I’ve made a mental note to keep an eye out for in the future. However, I’m glad to say Rosalind Hull is one such person. Having already made a name for herself as a spoken-word artist and theatre-maker, Hull has written and directed a dark comedy that feels very fresh and fearless. While its central character has a grounded, relatable everyday life, it is Hull’s attention to detail as a wordsmith that sets the play apart from other shows of a similar nature.

On stage, Hull is joined by Charlotte Nice, Chris Agha and Stephen Hayward, who play the numerous characters who have an impact on her life. As for the daily routine of Hull’s ‘Lola’, it is universally recognisable – travelling from A to B via a bus, trips to the supermarket, working in a job that isn’t her chosen vocation and contending with management who don’t like her ‘attitude’.

Nevertheless, Lola’s dry humour endears her to the audence – giving voice to all the ‘negative’ thoughts that society deems ‘unacceptable’, but everybody thinks in reality. When she isn’t involved with her Arts-related pastimes, Lola works as barista – a perfect opportuniy to observe all sorts of customers in this ‘petri dish’ of human behaviour. Of course, the day-to-day reality is a lot less appealing than its ‘potential’…

A large part of the ‘love life’ section of the show’ involves ‘Denim Eyes’ (Hayward) – someone met in passing, who later knows (for the most part) all of Lola’s foibles, but still loves her anyway. But even in this ‘perfect’ relationship, there are limits to what he accepts from Lola when she’s inebriated, leading to an en passe. The post-relationship depression leads Lola to seek solace in some ‘rebound partners’, where she can feel desired (if only for a moment) with no judgement (but don’t necessary have her best interests at heart).

Baggage has some things in common with Anna Jordan’s Freak, where there is a candidness regarding all the facets of female sexuality. Baggage is, however, very much its own thing, touching on many subjects such as the ideation of suicide, the death of one’s mother, the limits (or not…) of drinking alcohol, not getting over a former partner and basically ‘not living your best life’. Also, similar to the shows of theatre-maker Bryony Kimmings, while Baggage may be ‘fiction’, at its core are emotional truths that ‘reek’ of authenticity. Peppered with plenty of humour, Hull is able to broach the darkest and ‘unsayable’ of subjects with pathos.

© Michael Davis 2024

Baggage ran at the Bread & Roses Theatre from 5th to 7th March.