By Karyn Lee Greig
A friend of mine, through her own contacts, informed me that a Riley Street, performer of Mediocre, needed a reviewer. I said to myself, ‘It’s Christmas. I’m tired. I’ve got a lot to do to host the event . . . blah, blah’. But, I thought, this young singer/songwriter/musician/actor, who has written all their own songs and the entirety of their own show, needs the support. Yeah, it’s Christmas – a time for going the extra mile for your fellow human. I’ll be that reviewer for this f fledgling performer. I’ll be that reviewer for this show called Mediocre. It’s probably about all the times they have experienced ‘mediocrity’ . . . been seen as ‘mediocre’ or actually been ‘mediocre’. What’s one more mediocre performance in my life?
I have encountered few ironies greater than the one I experienced here. There is nothing mediocre about Riley Street – or this show. Rarely have I seen a performer that gives of themselves so fearlessly, so entirely – with such skill, energy and passion. Street is quite simply, an astounding talent.
This show is of a highly personal nature, where Street refers to their neurodivergency and their difficulties with interpersonal relationships before and after diagnosis. The show recounts several major events in their life which have shaped who they are. We hear the creepy but very amusing story of their first (and presumably, last) Tinder date – black comedy at its best. The recount of their panic attack at a party was the high point of the show. Street drew us into this experience with such force, that it left the performer hyperventilating and the audience in stunned silence. And then just as powerfully, they broke the ice with a comedic quip. This was a masterclass in timing, control and how to hold an audience spellbound.
From the start, I was struck by the pace and energy of Street’s delivery, yet with excellent diction. The keyboard was used masterfully, not only as the accompaniment to their songs, but to punctuate dramatic or comic moments in the storytelling. Quick switches to red or yellow lighting further heightened these moments. Street knows how to involve an audience with, for example, the use of props playfully given to audience members, and sing-a-longs such as their father’s oft used Pythonesque refrain Always Look on the Bright Side of Life. Street’s outstanding song writing skills are served by a great voice that goes wherever it needs to, including for example, to falsetto. The songs are interrupted by engrossing storytelling, completed by the return to a melodic refrain. The timing throughout is impeccable, as are Street’s acting skills.
As a parent of adult children, it is moving to witness Street’s parents in the audience, being the recipients of some truth-telling by the performer – the ultimate vulnerable position for a parent. But Street, despite the many challenges growing up, artfully and without over-sentimentalising, acknowledges their contribution in making and shaping them. Despite all, there is love in the room.
As alluded to earlier, I went into the performance of Mediocre with a sense of resignation, expecting to do a job. I came out exhilarated by this young performer. I see a lot of theatre and this is a rarity. It will be very interesting to see how Street develops as a performer. They could be a performer in musicals and cabarets or remain a solo artist. Whatever they do, the musical world needs to know about Riley Street.
This season is very short but, hopefully, future seasons won’t be. DO NOT miss Riley Street if you get the opportunity.
