Writer and Director: Sam Smithson
When three friends, and a tag-along fiancé, meet for a reunion dinner there’s a lot to unpack. An upcoming wedding, new careers and years’ worth of memories to reminisce about. But people change, discoveries are unearthed and decisions are made. Huge, life-changing decisions that can’t be reversed even if they tried…
The first half of this play is fascinatingly real and engaging. Sam Smithson’s intricately written script is packed full of subtleties, with characters developed so well that the audience is desperate to know more. The strength of the script is further elevated by the four fantastic actors who express every witty remark and tense altercation with passion. Georgia (Holly Mccomish) is hilarious as the self-absorbed, privileged posh girl – completely oblivious to the awkwardness around her and happily living in her own little bubble. Her energy is contrasted perfectly with the lower-key Anna (Hattie Kemish) who uses minimal expressions to say a thousand words, with both actors building the tension slowly and intensely.
The second half, in comparison, is like watching a totally different show, almost as through Smithson handed the script over to a group of people and asked them all to throw in a scene each just to see what happens. The intricacy of the writing disappears and is overtaken with an amalgamation of bizarre, abstract scenes – blowing the original plot to pieces and taking on a life of its own. Smithson utilises contemporary dance style routines, voiceovers and dream-like sequences to discombobulate the audience, flitting from one scenario to another with no real correlation. It’s a disappointing finale considering the five-star opening, but safe to say, it’s at least a memorable one.
The actors use the contrasting atmospheres in the writing to further showcase their talents – with Cameron Wilson (Chris) bursting with confidence, energy and eccentricity to fully immerse himself into the quirky scenes. Bethany Monk-Lane (Liz) fuels the madness, with aggressive outbursts and believable depictions of rage and pain. The four of them keep the audience hooked, even at the shows most chaotically confusing heights.
The writer’s note in the programme mentions that each night the show will be different – but to what extent, is unclear. In the next show, will the bizarre second half still play out with a few minor amendments or will the characters take a completely different, more subdued route? The uncertainty is intriguing, although it is only briefly mentioned, this original approach is something that should be highlighted further to capture those on the hunt for something creative and exciting. While some plays could struggle with such variety, the actors in this performance are so talented and versatile, there’s no doubt they can pull it off no matter what direction the next performance goes in.
Runs until 23 April 2022
