FRINGE REVIEW – It’s Always Right Now Until It’s Later, Daniel Kitson


1000 (1130) Until 29th @ Traverse

By Emily P

It’s Always Right Now Until It’s Later is the latest in a consistently entertaining line of narrative one-man performances from the unique voice of Fringe Favourite Daniel Kitson. Following a string of successes with his Traverse shows, Kitson is returns with this exquisitely constructed and carefully revealed tale of markedly ordinary people leading beautifully quite lives. Like C90 and The Interminable Suicide of Gregory Church, this year’s offering is not based on Kitson’s own life but on two characters – drawn in all their banal familiarity with the tender and detailed wordcraft that Kitson is adored for.
William and Caroline are the two lives unravelled in the course of the delightful hour and a half. Their entire lives are laid out for us through Kitson’s description of 14 specific moments in each of their lifetimes; William’s taking us back from his last words to his birth; Caroline’s progressing chronologically. The two lives are ostensibly separate and could stand alone but it works in entertaining form that Kitson ping-pongs us between the two narratives. Kitson’s characters and their situations are charming in their quirkiness as well as hilarious in their recognisable ordinariness. This would be enough to capture and keep the audience’s attention and involvement even without the segmentary nature of the storytelling. Kitson’s performance, always immediate and enthusiastic, is an elementary part of the delight of his plays. Never visually boring in his storytelling he moves around the stage space in which 28 light bulbs are suspended representing the individual moments in time which form his narrative. Sometimes up a ladder, sometimes sitting, he gestures and indicates to the moments, memories and fragments of life as if they are crowding around him – and they become as clear to us as they appear to be to him.
It is no insult to say this is exactly what one expects of Kitson – he is on classic form. By stirring both laughs and tears, the audience leave the auditorium warmed and satisfied by the visit to Kitson’s exquisitely painted cameo of a little bit of our world.

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