A fast sequence of scenarios plays out in non sequitur snatches: a gangster hides out from the police and uses his daughter as his decoy; an abusive father looms over his victim; a stalker speaks of his paedophilic desire for a schoolgirl (“I just fell in love”). They are tense and tantalising, and you look for the patterns as characters come, go and wheel back around again.
The connective tissue is that they are all based on true events and real people in a show that quizzically calls itself an “almost biography” and is written and performed by the magnetic Emma Taylor. They are glimpses, like looking through a peephole briefly, and don’t connect to make a bigger whole, exactly, but each hooks you before switching. Sometimes one morphs into the next, mid-sentence, as if they are competing voices in Taylor’s head, or PTSD flashbacks to traumatic memory.
