Review: That Struggle For Signs Of Love And Humanity In A Dark Dystopian Future Doesn't Seem That Far Away When Considering MERCURY FUR Over A Decade Later.

Wednesday 29th May 2019, 7:30, KXT Theatre

The blackest of humour comes together for a captivating 110 minutes of theatre that challenges how far someone would go to protect the people they love in Kim Hardwick's (director) presentation of MERCURY FUR. Philip Ridley's MERCURY FUR sent shockwaves through the theatre circles when it premiered in Plymouth UK in 2005, with responses of walkouts and Ridley's publisher even refusing to publish the script. In 2019 at KXT, the dark comedy about a dystopian London is probably more shocking its position of being no longer being that shocking.

MERCURY FUR is set in a world that could be the present day aside from references that the British Museum has been looted and burned. The audience never really know the degree of damage being inflicted outside the abandoned apartment that brothers Elliot (Danny Ball) and Darren (Jack Walton) have found, but they are definitely privy to the depths that to boys have descended to in order to make money and survive. Elliot, an erstwhile drug dealer of futuristic hallucinogenic butterflies, organises 'parties' for the 'party guests' that friend and gang leader Spinx (Michael McStay) organises for a fee. The parties are sordid and beyond amoral but the limits seem to have shifted. On the day on display, the pressure is applied as Spinx's 'Party Guest' (Josh McElroy) has pushed the 'party' date forward and everyone, including Spinx's sister Lola (Janet Anderson) and new 'neighbour' come helper Naz (Meg Clarke) must hustle to ensure the 'Party Guest's' fantasy is met. Problems arise from the start as nothing goes to plan and friendships and loyalties are put to the test as they must consider their position on the morality of the 'party' plans.

Designer Ella Butler 'traps' the audience in the abandoned apartment building with a doorway fitted to the entrance to the KXT theatre. The audience flank the whitewashed ruins of the apartment which has a small boarded up window and disused furniture and fittings as though it was abandoned mid renovation. The struggling East London characters are reinforced with Elliot, Darren and Naz's street style of trackpants and sneakers with personalised 'flair'. Spinx's position as the leader is maintained with a more sartorial style to match his 'companion', the posh Duchess (Romy Bartz). Martin Kinnane's lighting ensures that the audience is reminded that this is an abandoned building with light through the window, torches, an electric lamp and candles illuminate the work.

MERCURY FUR is filled with strong performances which capture the ethical dilemmas that confront the characters. Ball gives Elliot a hardness in his tirade of insults, often hurled at Darren but there are moments of humanity where he reconnects on a human level. Walton gives Darren a juvenile innocence as a representation of a drug addled mind, damaged by an addiction to the Butterflies but he also ensures that it is clear that there are times with the 16-year-old has moments of complete clarity. Clarke is amusing as the eager to help Naz. Lola is presented with a confidence but also a fear and distaste of what her brother is asking do but still having a pride in her work even if she'd prefer not to be around when the 'party guests' arrive. McStay's Spinx is sufficiently oily and untrustworthy as he manipulates and intimidates but still manages to show a compassionate side as he proceeds to perpetuate the Duchess' belief that she is in grand castles rather than abandoned apartments. As the reason why the group have gathered, McElroy's 'Party Guest' is given the unrestrained evil but also entitled demanding one would expect from someone who could dream up such an abhorrent fantasy and use it to bargain with people's lives.

Whilst set in a broken post-apocalyptic world, the media has shown that characters like the 'Party Guest' exist in current society and therefore providers like Spinx and his crew must exist as well making this work even more chilling but also alarmingly less shocking. With society shifting to many more people having a sense of self entitlement over the ethical boundaries that had once stopped people from heinous acts, it isn't a stretch to think that people may consider lives as disposable and there for their own amusement if the price is right.

MERCURY FUR has a incredible poetry to the work, albeit using very coarse 'street' language, and weaves in unusual references from Ancient Egypt to Greek Mythology. This works with the physicality of the work to give the piece dark humour which is layered with moments of poignant humanity and times of disbelief. Well-constructed and well worth seeing as a though provoking weirdly entertaining work that ultimately does hold some hope for humanity.

http://www.kingsxtheatre.com/mercury-fur-1

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