The Jolly Fisherman tells the story of community, division, gentrification, and ultimately of contemporary England.
It begins in 2013, when 13-year-old Alan, having lost his mother, spends all his time in the local pub (the eponymous Jolly Fisherman) with his dad’s friends. A few years on, Amir, who is the same age as Alan and is British-Pakistani, moves into the area. The boys strike up a friendship, and the play follows their story as life pulls them — and their communities — in different directions.
In a moment where Britain seems more divided than ever, The Jolly Fisherman feels timely and urgent. It is a study of friendship, prejudice, and the epidemic of isolation taking over British working class communities. Sharp writing from John Dineen allows for both of the boys to feel fully fleshed out and deeply human. Although Alan is a flawed character, the plot does not write him off as a villain, and seeing him grow up before our eyes allows for a more nuanced understanding of his character. For me, the ending had the potential to have a little more emotional impact than it did — though very strong, I was prepared for a real gut-punch moment which I don’t think quite came.
Alex Hill is excellent in his role as Alan, whom he plays with intense energy — at first personifying the childlike wonder of a young boy (allowed to sit at the grown-ups table), he describes and characterises the pub and its inhabitants, colouring in the set with his enthusiastic ramblings. As his character ages and his community erodes, he becomes increasingly tense. Jonny Khan as Amir is equally brilliant, with a natural coolness and charm that holds throughout the performance. Even when quieter than his scene partner, Khan is magnetic to watch.
Despite heavy themes, The Jolly Fisherman does not lecture or drone on. Dineen resists spoon feeding us, which creates space for the audience to draw their own conclusions. The result is an astounding piece of social commentary which maintains a close focus on its central characters. The show is billed as “trying to find some middle ground,” which seems a tall order for a topic so contentious. However, The Jolly Fisherman does not shy away from political and personal realities, which makes space for nuance and empathy as much as it condemns violence.
At times beautiful, at times exhilarating, and at times heartbreaking, The Jolly Fisherman is a tour de force of theatre from an incredible team, and definitely one to watch.
The Jolly Fisherman will run until August 30 (excluding 17) at Buttercup at Underbelly George Square. Buy tickets here.
Image by Finlay Bourke, provided as press material.
