Live theatre has a rare power to take what is usually hidden inside us – the tangled, complex, and often uncomfortable parts of being human – and bring them vividly and viscerally into the open. This play leans into that power from the very first moment. The opening is startling: a dystopian figure confronts the audience directly, locking eyes and pulling us into a series of mind games – asking us questions that may or may not be rhetorical. It’s an arresting start that immediately stirs instinctive reactions, setting the tone for a story that is as much about what we feel as what we see.
The narrative follows two childhood friends, now young men, navigating life at the lower rungs of a ruthless, bottom-line-driven corporation. Their contrasting approaches to life and ambition create a compelling, and at times amusing tension. Richie is consumed by material success, driven in a very primal, alpha-male way, while Darwin values life beyond work – though comfortably buffered by the privileges of being the CEO’s son. As the story unfolds, Richie’s envisioned future-self manifests as a separate entity trapped in his own mind, taking on multiple dimensions that are as unsettling as they are fascinating.
Certain narrative elements of this play, such as the corporate nepotism angle, feel misplaced and unnecessary at times, adding little and distracting from what is already a compelling dynamic between the two friends and the parent figure, and an already dense and layered subject matter. The clash between the dystopian, futuristic opening and the retro corporate setting – all filing cabinets and paperwork – is equally dissonant, the world outside the character’s emotional landscape feeling a little less thought through. By contrast, the portrayal of how childhood trauma shapes adult behaviour and neuroses is powerful and affecting, grounding the characters’ behaviours in something raw and nuanced.
The play shines brightest in its quieter, more subtle moments. Scenes of restrained, playful, and tender interaction reveal far more than the occasional sensational or heightened dramatic sequences, which at times distract from the emotional core. There is a clever twist that, while intriguing, could have benefited from a more polished execution, yet still adds an unexpected layer to the narrative and to the creative representation of Richie’s mental state. The approach to ‘manifesting’ is particularly refreshing and original – subverting the concept to explore intrusive thoughts and the destructive consequences of OCD rather than simple aspiration.
Lighting plays a crucial role in this production, effectively bringing inner life to the stage and marking transitions with clarity and drama. Director Anna Ledwich’s hand is evident throughout – even the actors’ movement of the set feels purposeful and captivating, drawing the audience into the rhythm of the narrative and the mechanics of the world we’re immersed into.
Overall, this production offers a compelling portrayal of mental health, the pitfalls of modern hustle culture and the complex roots of damaging behaviours. While the protagonist can be challenging to empathise with – a likely deliberate choice – the unfolding relationships with his friend, his boss, and his own mind are multi-layered and deeply satisfying. The acting from the entire cast impresses with physicality, spatial awareness, and genuine chemistry between performers, which makes the emotional stakes feel immediate and real.
For anyone interested in a theatre experience that provokes, unsettles, and illuminates the human mind, this play delivers in spades. It is both challenging and rewarding, leaving the audience with lingering questions about instinct, ambition, and the complex ways we navigate our inner and outer worlds.
Drama
By Will Lord
Directed by Anna Ledwich
Photo Credit: Rich Lakos
Cast Includes Nathan Clarke, Ashley Margolis, Allison McKenzie
Until Oct 25th 2025
Durations: 1hr 40mins, no interval
Photo credit: Rich Lakos