★★★★★

“highly watchable and totally uncompromising in its commitment to Kelly’s vision”

Dennis Kelly’s Debris is not a beautiful play. A classic of In-yer-face theatre, it documents the strange, fantastical origins of a brother and sister whose understanding of life is warped by the adults that control it. The play opens with the brother’s description of their father committing suicide by crucifixion: thus, the audience is immersed into a world of where adults are predators, babies are found in the rubbish, and normality is just a dream on a TV screen. It is visceral, loud, disturbing.

But, somehow, beautiful is the immediate adjective that I reach for when thinking of Battered Soul Theatre’s revival of Debris. The company have engaged with the many layers in Kelly’s text to create a vivid piece that is beautifully acted and designed and executed with enthralling energy.

Hugo Aguirre’s set design plays a huge part in this; in many ways, it is the star of the show. Upon entering Theatre N16, the curious spectator peers over the heads of their fellow audience members to see a cramped square of stage, on which two people sit drawing shapes in the dust. They are surrounded by stones and sand; a bike wheel and a ripped plastic bag sit in one corner, a neon tricycle in another. By covering the stage in literal debris, Aguirre not only reflects the dark content of the play, but uses it in order to amplify the action. From the sounds of the actors walking across stones to the clouds of dust that billow up as they scramble violently through their grotesque world, this highly innovative design evokes more than artificial means could hope to.

But this is not to compromise the performers themselves. It is thanks to James Anthony-Rose and Louise Waller that the pace of the show never flags. Anthony-Rose’s Michael fizzes with anger and frustration: his bitter, deadpan description of his ‘fat bastard’ of a father dying on the cross and annoyance at his sister’s persistent aliveness is both chilling and darkly funny. Equally, however, Anthony-Rose emphasises Michael’s vulnerability. His discovery of a baby in a pile of rubbish and instinct to care for him is moving; the audience’s attachment to these moments is strengthened by the prior harshness of his character. Waller’s delivery has the same deadpan quality, but her Michelle maintains the coolness that Michael loses. She effectively portrays and maintains the siblings’ detachment from reality: the many contradictory stories of her mother’s death have an otherworldly quality, despite their emotional core. Under the strong guidance of director Alex Prescot, they have created characters that are both believable and detached, perfectly capturing the internal conflict of Kelly’s play.

Battered Soul have proven that Debris still stands as a fascinating and innovative piece of theatre that has the ability to challenge and captivate an audience. Their adaptation is both highly watchable and totally uncompromising in its commitment to Kelly’s vision.

Reviewed by Harriet Corke

Photography courtesy Battered Soul Theatre

Reboot: Shorts 2

The Bunker

Reviewed – 15th October 2018

★★★★

“a show that demonstrates the diversity, vitality and ambition of young theatre-makers”

Shorts 2 is the second night of new writing produced by Reboot Theatre Company. With the use of simple staging, committed performances, and six of the best short plays selected from hundreds of submissions, Reboot (along with director Nico Pimparé) present a promising glimpse of a new generation of playwrights.

The show opens with Cradle, based on the deceptively simple premise of a couple (played by Faidon Loumakis and Athena Bounti) drifting apart. But, like the new Mercedes sitting proudly in their driveway, this is simply a cover, one that writer Sascha Moore slowly strips away to reveal a harrowing story of loss. The plot is layered and complex – surprisingly so considering its length – and Bounti’s performance is captivating.

It’s a hard act to follow, but The Answer is more than capable of doing so. It’s 1973, and Clive (Tom Blake) is taking a step into the future by purchasing an “ansafone”; his wife Jenny (Rachel Brown) thinks it’s a step too far. Tom Glover expertly satirises our age-old obsession with the latest must-haves. The writing and performances are witty, self-assured, and a great contrast to Moore’s tension-laced opener.

Kiss Kiss by Lily Shahmoon follows co-workers whose affair begins at completely the wrong time. They only have a few more months together before Hayley, who is pregnant, must retreat into stability. Shahmoon has created a sweet and endearing love story, and gives it a twist by presenting it entirely through text messages. Bounti and Michael Waller have great chemistry as Hayley and Chris, but important moments sometimes feel rushed.

Laura Harper’s Vermin opens the second half: whilst not as strong of an opener as Cradle, it is an intriguing premise that is well-executed. Lucinda and Ash are in pursuit of a fox. He wants to prove his usefulness to the resistance, she to gain access to the upper echelons of society. Harper’s piece is sinister, but its swift pace sometimes hinders our understanding of her dystopian world.

After a string of two-handers, Harry ter Haar’s Cheating unites four of the five actors to discuss the meaning of this act. Nick (Blake) announces in the middle of dessert that his wife is cheating on him…but is she? What follows is an absurd unravelling of the concept of “cheating” that impressively combines humour and high stakes. As in The Answer, Blake steals the show with his comic timing.

The final piece, Candy, is a monologue that rounds off a balanced programme. Will (Waller) is not the sentimental type, but a chance encounter with the woman of his dreams transforms his outlook. The piece is somewhat predictable and you can see the ending coming, but this does nothing to devalue Tim Fraser’s well-rounded exploration of character. Waller is likeable and engaging, drawing the audience in and effortlessly keeping them engaged.

Reboot have clearly worked hard to showcase a variety of forms and perspectives. The result is a show that demonstrates the diversity, vitality and ambition of young theatre-makers.

Debris

Theatre N16

Reviewed – 21st October 2018

★★★★★

“highly watchable and totally uncompromising in its commitment to Kelly’s vision”

But, somehow, beautiful is the immediate adjective that I reach for when thinking of Battered Soul Theatre’s revival of Debris. The company have engaged with the many layers in Kelly’s text to create a vivid piece that is beautifully acted and designed and executed with enthralling energy.

Battered Soul have proven that Debris still stands as a fascinating and innovative piece of theatre that has the ability to challenge and captivate an audience. Their adaptation is both highly watchable and totally uncompromising in its commitment to Kelly’s vision.

Reviewed by Harriet Corke

Photography courtesy Battered Soul Theatre

Debris

Theatre N16 until 25th October

Previously reviewed at this venure:

Reboot: Shorts 2

The Bunker

Reviewed – 15th October 2018

★★★★

“a show that demonstrates the diversity, vitality and ambition of young theatre-makers”

Reboot have clearly worked hard to showcase a variety of forms and perspectives. The result is a show that demonstrates the diversity, vitality and ambition of young theatre-makers.

Reviewed by Harriet Corke

Photography by Ali Wright

Reboot: Shorts 2

The Bunker

Previously reviewed at this venue: