Can’t Sleep Clowns Will Eat Me

Written and directed by Julian Bond
The Casa
Tuesday 5th June 2012

Reviewed by Laura Naylor

Can’t Sleep opens with a couple, one of whom could best be described as a ‘curtain-twitcher’ who, concerned with the amount of deliveries his Muslim neighbour is getting, decides to call the terrorism hotline and leaves a message of concern. What follows is a series of chaotic events in the supermarket where the neighbour, Hassan, works.

Besco-Walart is eagerly preparing for the arrival of the Duke of Rexminister when Managers and Executives get word that one of their staff is plotting a terrorist attack. Naturally, they send someone in undercover to investigate. A comedy of errors and misunderstandings ensue as, being a bit of a ladies man and an avid reader of romantic poetry, Hassan proceeds to flirt with the checkout girls. This, unfortunately, is seen as covert communication to a fellow terrorist and it’s up to the undercover agent to find out before it’s too late.

Fingers should naturally point to another member of staff who, for all appearances is an anarchist and, once sacked, makes it his mission to disrupt the Remembrance Day visit. Unaware of what is going on, the security guards are utterly focused on trying to capture one-woman crime-wave Chrissy Moore and her (un)trusty sidekick Frances.

Combining acting, dancing and song, Can’t Sleep certainly had a carnival-esque feel which was well choreographed. My only issue was that the applause took too long; I strongly believe everyone deserved a round of applause but, for quite a large cast travelling up to the stage either individually or in pairs, my arms were aching by the end. All in all the performance provided a lot of laughs and, despite the lyrics being indistinct at times and a few false starts from the actors, these can only be improved upon. It parodied how paranoia and hysteria seems to be the foundation for trouble in society today and the breakdown in communication between people leaves them vulnerable. Another fantastic “Fight the man” exposé for which The Casa is known for.

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