This article is from 2009.
Short and not that sweet
Suckerville looks at the Wall Street Crash of 1929, reflecting on the human implications of economic collapse, with the constant shadow of suicide looming over the action. We walk into an artistic set dominated by a girl balanced on a beam, with television sets flickering images which raise expectations and set a panicked atmosphere. So far, so interesting.
There has been some work done on the production since the beginning of the run, and it now stands as a more coherent piece, with fluid plotting and a greater emphasis on characters. However, the dialogue still feels stilted and the production amateurish, despite some interesting concepts.
The often pretentious use of language jars with the young and likeable cast, who do their best to engage the audience during frequently confusing segments. The changes may have been for the better, but it does also mean the show has lost its grip on the initial subject matter of the ’29 disaster. Suckerville still needs a harsh culling of its indulgent segments but has become a watchable, if unremarkable, Fringe experiment. (Siân Bevan)
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