After seeing Raw Toast’s debut at last year’s Edinburgh Fringe, I knew I had to see what they had in store this year. With Raw Toast member Lewis Aitken in the writer’s chair for this outing, and returning Director Matthew Attwood, it seemed like a solid base for a good 50 minutes of comedy.
When he is let go from his job at Amazon and replaced by machines, Archie has a mental breakdown and rakes his best mates into going “off grid” with him in the hopes of rising up against technology and banishing it once and for all. With mixed reactions from the others, we see Archie struggle to come to terms with his situation while his friends try and help him in the only ways they know how.
Grant Ritchie is fantastic as Archie. He carries the play on his shoulders and is a real gateway for the audience into the psyche of someone truly on the edge. Ritchie’s comedic timing is effortless and his stage presence is natural. The audience truly feel for Archie and his horrible situation while, willing for him to get out of his rut, even though he’s clearly off his rocker. This is testament to Ritchie’s ability to win over an audience and drag them along for the ride, much like Archie does with his pals.
Martin Mitchell does excellently as Greg, the tech guru of the group. Mitchell plays Greg with an air of sophistication, as if he’s above his peers, but it never feels malevolent, and he clearly has patience for his mates. Even though he looks exhausted with their stupid ideas and their complete lack of tech savvy, he never seems to judge them for it. A nice balance that is difficult to ride, yet Mitchell handles it nicely. He is very believable as Greg, and plays his role in the friendship dynamic well.
Jordan Kielty is Rory. Rory was also let go by Amazon, yet doesn’t seem to be taking it as hard as Archie, an interesting dynamic that Kielty handles very well. He is almost the voice of reason among the group, and yet let’s things drive him up the wall. A very interesting character to watch. This could’ve been quite one-note in a lesser actor’s hands, but Kielty delivers on every front here. He portrays a kind, gentle spirit who has more than some of his mates, but suppresses this for their benefit and to spare their feelings.
Lewis Aitken plays the loveable doofus Finlay. Having written the thing, it’s clear Aitken may have had himself in mind for Finlay as he takes to it like a fish to water. Inserting one liners into serious conversations and always being 30 seconds behind everyone else could have gotten boring rather quickly, but Aitken’s timing is perfection and he truly holds the audience in the palm of his hand. A truly rib-achingly funny performance.
The play is written by Aitken also. The story overall is very fun. It’s a nice simple setting, fitting for its context of the Edinburgh Fringe, but the intricate character relationships and dynamics he weaves into place are lovely. The characters are dynamic and the individual personalities are clear throughout. The play is also genuinely hilarious. It clearly helps having someone involved in the group writing the piece themselves as each actor feels at home, each character lived in, and the relationships already established. The script is quick and tight, almost reminiscent of the Blood and Ice Cream trilogy in its quick timing, you-could-go-see-it-three-times-and-pick-up-another-joke vibe. That being said, it isn’t all laughs, there is room for emotion and depth. Seeing four men express their platonic love for each other, and also the idea that guys should ask their mates for help more often is very welcome and something that would be at the forefront of more pieces of writing.
Matthew Attwood directs the piece expertly. He allows his actors to shine and bounce off each other while keeping them and the tone of the piece consistent, the message conveyed is clear yet also thought provoking and lingers with the audience after curtain call. The use of voicemails at the start and an ever-present Alexa in the background is a nice touch and adds to the theme of the play nicely. Technician Eleanor Tate does very well making all this happen with incredibly efficient timing.
Overall, Aitken’s play is thought provoking, funny and emotional in equal measure, the balance of all three is expertly done, as if he’d been writing for years. The only solitary negative in this production is the choice of a head torch that’s worn by a character for a little too long, occasionally blinding the audience and taking away from all the hard work on stage. It feels obvious that the bond between the four lads in the play mirrors the bond between the actors, and this closeness helps bring together this silly, fun, yet worryingly relevant show.
Garage Warriors is playing at The Space @ Surgeon’s Hall Venue 53 from 14th-19th August at 15:55. Get your tickets here:
Theatre Scotland 
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