An Intervention – Greenwich Theatre, London

Writer: Mike Bartlett

Director: James Haddrell

Two close friends, with light-hearted debate being at the heart of their friendship, find themselves in the centre of yet another heated discussion about war and political intervention. A is disappointed that her friend B didn’t show up to the anti-war rally, confronting her with surprise at her right-wing stance on the matter. At opposite ends of the spectrum, they flesh out their arguments for and against – while also confronting their own demons and issues closer to home. It’s a time they both need each other more than ever, yet they’ve never felt further apart.

The tumultuous narrative from Mike Bartlett is full of opportunity to shock, intrigue and pull at the heartstrings of the audience. Broaching some sensitive topics such as suicide, war, alcoholism, politics and depression, it’s a script packed full of drama and gritty dialogue. With such a strong narrative, this is a show that should be easy to pull off and captivate an audience, but the execution is weakly carried out and the powerful script is lost on the empty stage.

Although the main focus of this show is quite rightly the script, having two characters interact in front of a white sheet for over 90 minutes feels more like a rehearsal than fully completed performance. While there is no need for a high budget backdrop or excessive props, some thought into the set design would be a welcome addition in keeping the audience’s attention and add extra weight to each scene.

In addition to the stripped back set, both actors (Helen Ramsay – A, Lauren Drennan – B) lack energy and confidence within their characters, which makes each conversation mundane and monotonous. Scenes that should be explosive are performed in the same way as scenes that should be poignant and gentle. While Ramsay does start to find her feet midway through the narrative, it isn’t reciprocated by Drennan, and the lack of chemistry contributes to the overall outcome of the show. For an initial read through, this approach would work in getting to the heart of the script, but as a ready-for-stage show, it needs more to stand out and engage.

With a script full of potential, and a performance that requires character conviction for audience interest – it’s a disappointing prodcution. Perhaps an intervention is needed before the end of the show’s limited run to boost the energy and do the writing justice.

Runs until 13 August 2022