Review: GATE, The Cockpit

What do you do when you're not good enough for Heaven, but not bad enough for Hell? How do you deal with being stuck in the waiting room of the afterlife, whilst the gender-fluid almighty spirit above decides your fate?

Deadpan Theatre's GATE is a surreal twist on the Christian narrative. Written by Artemis Fitzalan Howard, the play acutely taps into the consequences of our time on Earth, reflecting on how every decision we make plays a part in how we are judged at the end of our days.

Eve (Emma Dennis-Edwards) is a cockney receptionist with a sassy attitude, who takes multiple phone calls as she struts around the stage in her white dress and gold heels. She is the gatekeeper, but not a very good one; her boss, St Peter, is threatening dismissal as Eve isn't hitting her targets.

Being dead might come as a shock to most, but it doesn't faze Rebecca (Eleanor Henderson), who's been in this situation already. After battling cancer, she has nearly passed away many times, resulting in her knowing exactly what's going on. Her blasé persona means she's well-equipped to help the rest of the deceased relax.

The other poor unfortunate souls are Mark (Wil Coban), Luke (Joe McArdle) and Esther (Katie Sherrard). Howard has done well to enrich four stock characters: the posh twat, the bitch, the goody-two-shoes and the fool. Each has a moment to shine within a cohesive ensemble.

However, it's a real shame that after 70 minutes of smart exposition and narrative, the climax is rushed, and the play ends without any clear closure. It's as if Howard ran out of ideas, as monologues from each of the characters are shoehorned in carelessly.

Alongside this, there is an off-taste encore with musicians dressed as angels inaudibly singing out of tune, whilst they shuffle around in a circle awkwardly. It's a disappointing ending to be a play that had such potential to great.

The show isn't entirely original, and it shares similarities with the company's Edinburgh musical Third Wheel. However, for the most part, Sadie Spencer's production is an amusing take on religion and philosophy. It's quirky, cheeky and Fitzalan Howard is most definitely a writer to watch out for.

GATE at The Cockpit Theatre until 24 September

Photo credit: Lidia Crisafulli

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