The Open

The Space

Reviewed – 26th September 2019

★★★

“As topical and in vogue the offbeat concept is, the final execution does not live up to what it promises”

Anyone for a game of golf? Well get your clubs out and tee up, as there’s a new course in town, and it’s unlike any other seen before. The Open explores the ramifications of our near-distant future in an absurd yet unnervingly plausible fashion, but lacks an inventive story to follow the strong concept.

The year is 2050. It’s post-Brexit and Great Britain looks a little different to how we know it. Now called the GBGC (Great British Golf Course), our beloved country has been bought and taken over by the one and only Donald Trump, and turned into a mass of putting holes. It’s a bleak landscape. Protagonists Arthur (Priyank Morjaria) and Patrick (Tom Blake) are stuck in this dystopian world, despondently going about their monotonous work on the course. Arthur more diligently does what he is told, whilst Patrick yearns for the past and to see his love Jana (Heidi Niemi) again. Her unexpected return causes havoc, and with not much time to spare, gives these two men an ultimatum that will change their lives.

As topical and in vogue the offbeat concept is, the final execution does not live up to what it promises. With so much exposition to have to get across, most scenes fall flat as they become discussion based with little action ever taking place. The second half does certainly pick up pace, but writer and director Florence Bell could have created more dynamic scenarios to portray instead. At times you’re left questioning small but niggling plot holes, such as, what’s happening to the UK residents who aren’t working for the golf course? There’s also the bizarre choice of never mentioning Donald Trump, even though he is the sole reason Britain has turned into a vast manicured turf for the rich. Possibly it’s a directorial choice to only elude to him, but it simply does not work.

There is however some undoubtedly worthy attempts from Bell at examining the disparity between the rich and poor, imagining a future where the gap has become even wider. Where the UK are still reliant on people from overseas to do our low-paid jobs, and the xenophobia from Trump and Brexit’s rhetoric has exploded into awful action.

The cast try their best with putting life into the lacklustre script. In particular, Morjaria as Arthur gives a standout performance that feels truthful, with clear character progression, where others can come across one-dimensional or without real motivations.

The set design by Tom Craig is a pleasing sight. The simple but ever so effective use of green Astro turf along the whole stage immediately transports you to the artificial, Disneyland-esque perfection that the GBGC is trying to sell. The stark contrast of the stage for the second half is a nice visual indication of the murkier business that goes on underneath the corporations facade.

All in all, the whole concept just feels too big to fit into its 105 minutes running time. What strives to be an inventive new take on the dystopian-thriller genre, made popular by the likes of Black Mirror, turns out to be mostly predictable and not enthralling enough. Just like golf really.

Reviewed by Phoebe Cole

Photography by Kit Dambite

The Open

The Space until 12th October

Previously reviewed at this venue:

The Conductor | ★★★★ | March 2019

We Know Now Snowmen Exist | ★★★ | March 2019

Post Mortem | ★★★★ | April 2019

The Wasp | ★★★★ | April 2019

Delicacy | ★★★½ | May 2019

Me & My Doll | ★★ | May 2019

Mycorrhiza | ★★★ | May 2019

Holy Land | ★★★ | June 2019

Parenthood | ★★★½ | July 2019

Chekhov In Moscow | ★★★★ | August 2019

Click here to see our most recent reviews

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.

The Space

Reviewed – 26th September 2019

★★★

“As topical and in vogue the offbeat concept is, the final execution does not live up to what it promises”

The cast try their best with putting life into the lacklustre script. In particular, Morjaria as Arthur gives a standout performance that feels truthful, with clear character progression, where others can come across one-dimensional or without real motivations.

All in all, the whole concept just feels too big to fit into its 105 minutes running time. What strives to be an inventive new take on the dystopian-thriller genre, made popular by the likes of Black Mirror, turns out to be mostly predictable and not enthralling enough. Just like golf really.

Reviewed by Phoebe Cole

Photography by Kit Dambite

The Open

The Space until 12th October

Previously reviewed at this venue:

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: