Writer: Robert Boulton
Director: Michael Cottrell
In the world of the accessible, everything is on demand: TV, music, food, and in this particular dystopian nightmare, contract killing. If someone has done you wrong, then live streamed retribution is the answer.
Marcus, played by Robert Boulton, is the poster boy for this unconventional start-up company. He’s risen up the ranks from the very beginning and takes genuine pleasure from the pain he inflicts on the dregs of society. New girl Sarah, played by Niamh Finlay, is fresh from her role in brand recognition, eager to see the other side of the twisted business she’s been part of for the last few months. Together they are the sadistic force to be reckoned with, when unsuspecting Tony, played by Henry Davis, wakes up confused and disoriented in an unknown hotel room. His misdemeanours are all over the papers and people want him to pay, with as much suffering as possible.
Considering it’s Boulton’s writing debut, there isn’t an inch of trepidation. His faultless script oozes confidence, holding the weight of a writer with decades on his resume. The characters are extremely well crafted, layered with complexity and intrigue. His plot is one of the most interesting concepts to be explored outside of an episode of Black Mirror and choosing to star within one of the main roles is a no-brainer due to his talent and passion.
Davis and Finlay couldn’t have been cast better and they both embody their characters so well, conjuring the perfect amount of tension to make it near impossible not to spend the entire show on the edge of your seat. The chemistry between this impeccable trio is flawless, twisting audience opinions, making everyone second guess who the real heroes and villains are from beginning to end. Director Michael Cottrell brings out the best in them, creating a perfect synergy on stage.
Set designer Alys Whitehead brings the narrative to life with her carefully thought out vision. Transporting the audience directly to a dingy Travelodge, there’s no room for confusion. The decision to project the live stream during the second act onto the back of the stage is ingenious, giving the audience multiple viewpoints throughout the suspenseful interactions and gripping culmination.
While cancel culture is very much at the forefront of this fantastic play, there’s no chance of a cancellation here. May a long run and multiple accolades be awarded to everyone involved in this fabulous piece.
Runs until 16 October 2021