EDINBURGH 2023: Review: END OF THE WORLD, ZOO Playground

Ella Lovelady’s debut play End of the World really does include everything but the kitchen sink. There’s a fridge, a kettle, plenty of cupboards, a dining table, and more. This is true of not only the set but the writing too - with everything from being a young carer to climate change to periods included, this is a broad, ambitious new play tackling big ideas.

We are invited into the kitchen of housemates Mel (Jess Gough) and Em (writer Lovelady) - the former is adamant she’s going to make a difference, change the world, save the tigers, while the latter is facing the arguably more pressing responsibility of caring for a mentally ill parent. Through a series of short scenes, almost like vignettes, we see their priorities and lifestyles clash and their dynamic put to the test.

Both actors play off each other very well, building a believable friendship. Lovelady as Em especially shines, natural in the personal voice of her own writing and consistently engaging. The pair do sometimes border on melodrama, with just a little too much shouting, but these are strong performances. 

The writing has moments of real poignancy - when we reach the heart of the Mel and Em’s differences, the dialogue takes on a new rawness, making you sit up and listen more closely. There’s also a warm, familiar humour throughout, reminiscent of the kind of in-jokes born out of long-term friendships.

It does feel, however, like End of the World is a play that isn’t quite sure what it wants to be yet. In some ways it’s a feminist comedy, tackling moon cups and pubic hair, while in other ways it’s a serious play about family and responsibility. The two halves don’t always blend together - End of the World's feminism shines in the honest depiction of female friendship, making some of the discussions of periods and sex feel a little superficial and unneeded.

Within the vignettes, Sarah Nelson's direction is slick and creative, using the small space well with smart blocking. The key problem between the writing and direction is the transitions between scenes - cool blue lighting and some jaunty elevator-style music (from composer Fintan Kealy) take us out of the world of the show and make what is otherwise a very professional production feel a little student drama-esque. It feels like finding a new, creative solution to these transitions would transform the form and storytelling of the show, elevating it from a strong piece of script writing to something theatrically exciting and innovative. At its core, this is a show about finding your priorities in life, and how best to live for both others and yourself - it would have been nice to see these questions allowed to be more of a focus. 

Having also seen company PINCHY Theatre's presentation of new musical FLITCH at writing showcase BEAM 2023, it's clear that they are ones to watch. There is a lot of potential from this team - I look forward to seeing what might happen when they push a little further. 

End of the World runs at ZOO Playground until 19 August

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