(Reviewed at the Sherman Theatre in Cardiff – ahead of its run at Swansea Grand Theatre from 16th – 25th April)
County lines is undoubtedly a worthy subject to explore on stage, particularly if, like Rebecca Jade Hammond, your intention is to bring something new to the conversation.
For her, too much of the existing discourse seemed to focus on young boys and the men that groom them, so she decided to flip the issue on its head and write both victim and villain as female.
But a unique take on a relevant subject matter does not necessarily guarantee success any more than fluorescent hair dye does a personality. To truly succeed, this kind of ‘important drama’ needs to strike a balance somewhere between accuracy and misery fest. Because there is a danger of doing something like this too well; creating the kind of theatre that even the most hardened, socially progressive, Royal Court Upstairs season-ticketholder has to pretend to enjoy.
I mention this only because this is a tightrope that the cast and creative team of ‘Hot Chicks’ have not so much walked, as tap-danced across.
The play follows teenagers Ruby and Kyla (Izzi McCormack John and Londiwe Mthembu) who dream of a better life from the confines of a Swansea chicken shop. Together, they spend most days plotting their vague escape, occasionally taking a break from TikTok to lovingly terrorise the chicken shop’s owner Cheney (Richard Elis).
Their routine is disrupted by Sadie (Rachel Redford), an older, stylish and seemingly wealthy young woman who appears to represent everything Ruby and Kyla aspire to. She’s generous and takes an interest in them, even throwing them the odd designer freebee or occasional meal deal – but it soon becomes clear there’s no such thing as a free lunch.
Mthembu deftly captures Ruby’s sweet naivety and innocence, which contrasts perfectly with Kyla’s confidence and forced bravado. McCormack John convincingly masks her character’s vulnerability from the others, whilst simultaneously revealing it to the audience – an impressive feat, given that she does so without ever compromising the realism at the heart of her performance.
Elis’ Cheney mostly acts as comic relief, which is welcome and pitched well to offset some of the darker moments, but he is also a kind of proxy for the audience. He cares, as we all do, watching this horrific exploitation unfold, but to what extent is he – or are any of us – willing to intervene? Ultimately, he is more comfortable as an observer, not willing to compromise himself to protect those more vulnerable – a realisation which likely sits uncomfortably for many in the auditorium.
Rachel Redford as Sadie in Hot Chicks – credit: Kirsten McTernan
But for me, it is Rachel Redford as Sadie who steals the show with a superb performance – a marriage between her dramatic instincts and Hammond’s understanding of subtle manipulation. There is no reason that Sadie should be considered a threat to these girls, certainly not a physical one anyway – in fact, I’m confident that Kyla could take her with ease – but through a methodical pattern of behaviour, Sadie eventually controls both girls with a mere look or a slight change in tone of voice.
The writing here is well-observed and the acting intricate in its re-creation of such conduct. Ruby and Kyla’s obedience is provoked by far more than simple gifts or financial incentives; it’s Sadie’s words of affirmation, her acknowledgment of their worth that truly traps them. She confirms to them something they had always hoped for – that they are special – and she weaponises this till they are both putty in her hands.
Elsewhere, Hammond’s dialogue is consistently witty without being overly stylised. She retains the best of her voice but wisely removes any traces of herself that could have otherwise diminished these character’s individuality. Her overall approach to the subject matter should be commended too, especially in the way she highlights how our natural inclinations to assume the best of women and the worst of men, can be exploited to cause devastating harm.
Direction from Hannah Noone ensures the single setting never becomes claustrophobic and she brings out naturalistic performances from the actors, elevating both the drama and comedy. There are also well-crafted transitional scenes involving dance breaks, implying the girls are partaking in the latest TikTok craze, but Noone ensures Cheney also has an opportunity to bust his own moves. These moments reinforce the momentum but also effectively cleanse the palate, scene to scene.
‘Hot Chicks’ falters ever so slightly in the execution of its conclusion. Without wishing to spoil the ending, suffice to say, it’s tragic. But whilst this may be true to life, these moments are let down by rushed blocking which makes a violent outburst appear a tad unconvincing.
It left me wondering whether this key moment could have been better communicated as an event unseen. Perhaps then, it might play more on the idea of ‘the disappeared’, those in society who fall through the cracks, lost, but sadly not missed enough to warrant any public outcry.
Still, it’s an ending which is bold and ambitious – the best adjectives I can think of to sum up the play in its entirety. Never safe, often funny, and always mindful to package its darker themes within entertainment. Because it’s easier than most people think to write ‘important drama’, what’s not so easy is to also make this something that most people will want to stick around and watch.
‘Hot Chicks’ manages to delve into something meaningful and harrowing, but crucially, doesn’t forget to have a laugh along the way.
