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Mouthpiece by Kieran Hurley mouthpiece (Set (Kai Fischer) (White frame…
Mouthpiece by Kieran Hurley 
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Themes
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Who owns a story? Cultural appropriation; Declan not being an agent in his own story; Libby profiting off of him
Love and Friendship/Relationships - family, friends, lovers, etc
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Mental Health - Declan's anxiety, Libby's alcoholism
Style and Genre
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Designed to make the audience take action, this style of theatre uses Verfrumdungeffekt (the distancing effect) to remind the audience that they are indeed watching a play and to get them to think critically about the events and characters presented to them.
Further reading regarding conventions here and a video on Brecht here.
Style: Meta-Theatre; 'meta' refers to when something is making commentary on itself. i.e. theatre that comments on the nature of theatre-making.
Lighting (Kai Fischer)
Cold, blue-white side lighting often used during the play.
Moments of breaking fourth wall identified through spotlight; often warm. Cool, dim light on remaining actor.
Blue lighting used to show the police; also used to build suspense when Libby told Declan how his story would end
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Cafe scene was warm and inviting, well-lit, more natural lighting, therefore suggesting it was outside the events of the play, 'real life'.
Warm light used to illuminate Declan post-museum visit, whereas cold light on Libby
Sound (Kim Moore)
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Heartbeat was used in the background o many scenes, such as Libby describing theatre, more heated conversations, during panic attack, Declan interrupting theatre
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Acting
Libby (Shauna Macdonald)
Upper-class, refined Edinburgh accent
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Comes across as a friendly, welcoming mother figure
Libby wants to guide Declan and nourish his artistic talents, e.g. gallery visits, gifts of pencils and so on
The character acted as the narrator and the writer, as she wrote the play we are watching
Declan (Angus Taylor)
Lower-class, heavy Edinburgh accent
Behaviour and language was improper; swearing, moving a lot, etc
Physically, Declan was slouched, hunched over, hands in pockets, hood up, etc
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Libby was more open and exaggerated in her movements, compared to a closed-off Declan
Their relationship made each other better or more complete; although this changes to Libby stealing Declan's story for her own gain. To begin with, both thought they were friends, but this developed but was perceived to be a mistake
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Set (Kai Fischer)
White frame bordered the stage; resemblant of a picture frame, TV screen, etc. The frame was used to jump in and out of the play
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Three levels in a staircase fashion, black. Levels were used to demonstrate power relationships
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between the opening and closing scene, Declan and Libby switched positions; Declan moved from upstage OP side to the table, triumphant whereas Libby moved from downstage centre to the rear of the stage, distraught. Further, who was speaking to the audience had shifted. This could imply who had control of the story
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Props used in scene were left behind, as if a memory. Further, it demonstrated the increasing entanglement of each other's lives.
Projection/Multimedia
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The projection was used to bring external characters into the play (e.g. Siân, text messages)
Specific plot points, setting and stage directions were shown to the audience. E.g. start of play, location changes, what characters were feeling or thinking or doing, etc etc
The story was Libby's, not Declan. Most obvious in final scene when Declan is acting out different things to what Libby is saying and is being projected