N.O.N.C.E. (Not On Normal Courtyard Exercise) has no right to be as enjoyable as it is. A one-man, spoken-word piece about life as a poet-in-residence at Grendon Prison, Britain’s only “therapeutic prison,” N.O.N.C.E. interweaves slam poetry and pieces of the narrator’s failing engagement with a darkly hilarious account of prisoners learning to express themselves through verse.
Steve Larkin is a powerful performer, storyteller, and mimic. The material has the potential to be lurid, but Larkin generally avoids the temptation of shock value, with the exception of a couple of uproariously filthy stories. Instead, Larkin is empathetic towards the lives and poems of the men in the poetry group he creates. He finds a way to relate to them, even those that are imprisoned for sex offenses, who he notes, are the only people more despised than poets. Looking for new material, Larkin is candid about the reasoning behind the group’s creation. Though he initially is seeking out new content, the prisoners start to take on a life of their own through Larkin’s portrayals – something he never expected. In the group, each man is given the name of one of his favourite artists – Michaelangelo shares his poetry with 50 Cent and Bertolt Brecht – adding a comical element to this work.
The conflicts and triumphs of the poetry group are entrancing, whether Larkin is fumbling over giving feedback on incomprehensible writing or responding to a poem named “Crying and Wanking Over You.” When his colleague complains the poetry is dark, twisted, and hateful, Larkin replies that his job is to help the inmate create this type of verse.
As Larkin’s relationship collapses, the prison group becomes a refuge, and he admits he’d rather talk to some of the inmates about the breakup than to any therapist. It is a surprising and moving moment of human nature.
Less successful are Larkin’s musings about the connection between pornography use, sex offences, and misogyny, which shy away from presenting a firm point of view and instead present a variety of overheard opinions and anecdotes. The narrative also leaves the prison setting just at the point when a resolution seems close. Instead, he fills this moment with material about doing Fringe Festivals across Canada, diluting a possible denouement. At one point, Larkin shares a slam piece he performed at a feminist fundraiser called “She Said,” a ferocious account of a couple’s fight that rips patriarchy a new one. The poem was spellbinding, but I wish the entire piece was as focused. Still, N.O.N.C.E provides its audience with a chance to experience an intimidating world and leaves them inspired, and smiling.
For more information on N.O.N.C.E., including ticked information and show times, visit the show’s specific website. More details about the Vancouver Fringe Festival, which runs until September 15, can be found online.
