Camden People's Theatre Archives - Page 4 of 14

I, Incel

Camden People’s Theatre

Reviewed – 1st November 2019

★★★

“This is a night intended to inform, using clever playful techniques at times, about an unsettling subculture”

The audience file into the small Camden People’s Theatre a little nervously. A man stands at a lectern, smiling and smartly dressed, as classical music plays. Nothing could feel further from the dark world of the ‘involuntary celibate’ culture that has seen murderous consequences.

For those of us not quite sure what to expect of I, Incel, written and performed by Christopher Montague, the initial effect proves surprisingly accurate. The performance unfolds as a presentation, with slides and props to boot. It’s not quite as simple as it seems, though, with dark undertones referenced as the hour passes as Montague begins to step away from his lectern and seemingly his balanced, removed persona.

As all-too-long YouTube videos made by now notorious young men identifying as incels play behind him, our speaker seems to transform. He vapes as he gazes at a long leather jacket that hangs imposingly to one side of the stage. The lighting (cleverly deployed throughout by Lucy Adams) dips and Montague briefly becomes a silhouette… before returning briskly to his speaker’s podium and persona as the video ends.

I, Incel is presented as a work in development, and at times this shows. This notion of Montague slipping into, being drawn towards, the darkness of incel culture doesn’t quite hold, which is a shame as it suggests a greater darkness that would really help throw the shadows of the piece into relief. Montague himself, while a likeable performer, is perhaps part of the reason for the production feeling a little one-note; some lines are delivered with timing just a fraction off, robbing them of the dark humour or shock value they could have offered. And when he crosses the stage to interact moodily with the hanging jacket, it’s hard to feel too moved by his brooding; his demeanour otherwise just feels too, well, nice, despite his references to seeing how close he could have come to incel mindsets in his youth.

The after-show feedback form asks how much audience members knew about incels before coming to the show, and whether the content went too far or not far enough. This suggests an apt preoccupation with some areas that will benefit from more development. It’s a conundrum; so many of those electing to come to a show on this topic will, of course, probably have a decent level of understanding already, and with that in mind the material felt rather basic. But then of course Montague and his consultant producer, Hannah Elsy, will want to ensure that this can act as a primer for those new to this especially torrid corner of toxic masculinity. It’s a balance that still needs tweaking, and a tricky one at that.

Still, criticism of a performer for being too warm and content for being too accessible hardly feels fair. This is a night intended to inform, using clever playful techniques at times, about an unsettling subculture that has manifested in tragedy before and will, one fears, do so again. Any production designed to bring this into the sunlight is to be commended, especially one as thoughtful as I, Incel.

Reviewed by Abi Davies

Photography by Georgie Lanfranchi

I, Incel

Camden People’s Theatre until 2nd November

Last ten shows reviewed at this venue:

Hot Flushes – The Musical | ★★★ | June 2019

Ophelia Rewound | ★★★★ | August 2019

The Indecent Musings Of Miss Doncaster 2007 | ★★★½ | August 2019

A Haunted Existence | ★★★★ | October 2019

Trigger Warning | ★★★ | October 2019

Click here to see our most recent reviews

★★★

“has an interesting premise, but ultimately, it is a bit hit-and-miss”

The notion being ‘triggered’ is certainly a hot topic of cultural and artistic debate. ‘Trigger Warning’ tackles this head on, as audience members are guided through a minefield of possible triggers for their upcoming performance of ‘Hope’. The play is a mix of elements reminiscent of ‘The Play That Goes Wrong’ and David Attenborough’s ‘Planet Earth’, combined together in what certainly is a statement piece.

Audiences are directly addressed from the very beginning by a duo of energetic and some-what frazzled flight attendants, played by Kath Duggan and Daniel Hay-Gordon. The play itself is structured in two halves; the first consists of audiences being prepped for the story ahead called ‘Hope’ which may or may not ever take place. Warnings include that it may make us feel a certain way, including boredom and frustration. The directorial decisions by Natasha Nixon are very strong, as the performers use clowning and voice-overs to tremendous comedic effect. Duggan and Hay-Gordon’s knowing glances, elastic facial expressions and needless faffing about with failing props make for a series of guaranteed laughs. The beginning sequence is inexplicably hilarious: however, this is unfortunately short-lived.

The second section, in which the play ‘Hope’ takes place, is incredibly confusing and loses the momentum that had been set by the strong opening. Audiences are then told of the story of ‘Hope’, a young migrant who was crossing the border. The narrative is unclear as we are told to read a ‘synopsis’ that we had not been given. This is clearly ironic, but it is then followed by Duggan and Hay-Gordon staring at the audience for five minutes whilst elevator music plays. Nixon’s direction in the second half loses the sense of pace and energy created in the first twenty minutes of action. It does, however, fulfil the trigger warning given of creating feelings of boredom and frustration.

The play’s design (Lily Arnold) is striking yet satisfying. Bold pastel colours frame the stage and costumes. Sound (Owen Crouch) and lighting effects (Amy Daniels) feature very heavily throughout. In particular, we never hear Hay-Gordon’s character speak, he lip-syncs all his lines. The most exciting design element is on the audience’s entry to the space, as we see Duggan struggling to pull a huge pink carpet through what appeared to be a side window. It is a spectacle made by the illusion that the window was going directly into the street. Concepts of the space itself are reversed, as we entered through the fire exit outside the theatre and exited through the entrance. It is details like these that summarises the play’s irreverent playfulness.

This play has an interesting premise, but ultimately, it is a bit hit-and-miss. This dark comedy teeters around the edges of offence and acceptability. However, it is done so in a way that is so conceptual that it often leaves the viewer completely perplexed.

Reviewed by Emily Morris

Photography by Harry Elletson

Camden People’s Theatre

Reviewed – 1st November 2019

★★★

“This is a night intended to inform, using clever playful techniques at times, about an unsettling subculture”

The audience file into the small Camden People’s Theatre a little nervously. A man stands at a lectern, smiling and smartly dressed, as classical music plays. Nothing could feel further from the dark world of the ‘involuntary celibate’ culture that has seen murderous consequences.

Reviewed by Abi Davies

Photography by Georgie Lanfranchi

I, Incel

Camden People’s Theatre until 2nd November

Last ten shows reviewed at this venue:

Camden People’s Theatre

Reviewed – 24th October 2019

★★★

“has an interesting premise, but ultimately, it is a bit hit-and-miss”

This play has an interesting premise, but ultimately, it is a bit hit-and-miss. This dark comedy teeters around the edges of offence and acceptability. However, it is done so in a way that is so conceptual that it often leaves the viewer completely perplexed.

Reviewed by Emily Morris

Photography by Harry Elletson

Trigger Warning

Camden People’s Theatre until 9th November

Last ten shows reviewed at this venue: