The National Youth Theatre’s annual celebration of new writers and talent, StoryFest, is in full swing, and yesterday I caught Nail Bar, written by Afsaneh Grey and Kelly Jones. The show is set in a disused high street shop, which the team at NYT have impressively transformed into a recognisable nail salon in the space of five days. Blending a multitude of genres, akin to a sitcom or soap opera, Nail Bar is bursting with talent on and off stage, and is the definition of an immersive theatre experience.
It would be rude not to start with the eponymous nail bar itself, playfully titled ‘Well Gel.’ Although this is my first time in a nail bar, the set-up is unmistakable. The stations, the wall displays, the images plastered across the windows are pretty uncanny. The only thing the production team could have done to make it feel more authentic is dump a bottle of acetone on the carpet to fill the air with that piercing smell. It is a setting unlike any other – theatre does not get more immersive than this. I found my eye drifting outside to passers-by, wondering who was part of the show… or who would pop in to get their nails done. There is something quite poetic about converting an abandoned, empty space and revitalising it with stories. It is a true testament to the art of theatre – with a story, actors and an audience, the medium can live anywhere, and as this bunch of up-and-coming talent is being given a chance, so is this disused space.
The play is divided into three episodes, and is reminiscent of a soap opera. There is comedy, kitchen sink drama, larger than life characters and the action takes place in a community space, much like your Queen Vic or Rovers Return. There are many references to works that the writers clearly love. From Eastenders to Clueless, pop culture references are woven in throughout, but at times to the detriment of play’s identity. By inviting explicit comparisons to Kat and Zoe, or Phil and Grant, Nail Bar risks leaning too heavily on established lore over creating its own. It is more than capable of the latter, with phrases like ‘I’m the nail to your nail bed,’ the very title of the nail bar and Mei’s daisy-turned-spem nails to name a few. The show is at its strongest when it builds on its own world, it is more than capable.
Soap opera can fall foul to stereotypes however, which I feared Nail Bar would early on. Amir (Manpreet Gehlan) is the Asian who is being told to get into Maths, Mei (Jade Chan) is the rich East Asian with the designer bags, and Barb (Elle Hudson) is clearly the definition of an Essex babe. There are many lesbian similes, jokes and gimmicks at the start of the show, which at times is overkill.
Initially the play risks reducing the queer experience to a running gag. Luckily, this is addressed in-narrative and provides a meaningful discussion about queerness and acceptance. Despite some initial quibbles, overall the writing ensures that there is nuance, as backstories are delved into and stereotypes are revealed as surface level, which is impressive in an eighty minute show, considering real-life soap operas have the time to dispel these tropes with a lower, slower burn.
An interesting cultural note concerning Mei, an East Asian, is how she learns about the western world. Her perception is largely based on Hollywood, The Devil Wears Prada, Clueless, Mean Girls… it is an interesting little note about how other parts of the world learn about each other, and how that plays out into reality, whether intentional or not. Mei’s perception is dashed when she arrives in the UK only to have her passport taken away. The show touches on a multitude of deeper topics that are reflective of society, Ola’s (Anastasia Kor) grief, immigration, homophobia, but does so without becoming issue led, always putting the characters first. The audience learn through the characters’ experiences and are allowed to draw our own conclusions on their experiences. It’s a delicate balance, and one that the writers pull off well.
In terms of performances, they are all uniformly impressive. Each actor clearly understood the brief, and inhabits their characters with real commitment and enthusiasm. At times some actors were quick to deliver their next line, not allowing the audience to finish their applause or laughter, meaning some lines get buried, but this does not ruin the overall effect. All actors get a chance to showcase their stellar comedic timing, but also deeper emotion when the script calls for it. They are eminently watchable.
Nail Bar ultimately succeeds because it prioritises its characters, and beneath the references, humour and drama, it is a real story about community and belonging. It’s a testament to the National Youth Theatre’s ability to nurture new voices, and really, is prime sitcom material.
4/5
Thanks for reading!
Tickets here: https://www.tickettailor.com/events/nationalyouththeatre/2212184
Khambay's Words, Words, Words 