Review: THE FALL, Finborough Theatre, 10 August 2016

As part of the celebrations of its 60th anniversary, the National Youth Theatre is presenting a trio of new plays at the Finborough Theatre. This week sees the world premiere of Olivier Award-nominated writer James Fritz's The Fall, a mini epic in three parts, exploring the stark realities of contemporary themes such as home ownership, financial difficulties and the care system in this country.

'First' sees a young and lust-filled couple (LaTanya Peterkin and Oliver Clayton) making use of an employer's supposedly empty flat. As they discover the old man dying on the floor, initial thoughts to get help quickly evolve into helping him to die, as they see no quality in his decrepit and routine life.

'First' is the weaker of the three parts in that the subject matter comes across as less convincing than the other sections, but hits hard with the concept of the seeming impossibility of being old when you are young. The performers have a nice chemistry, but Peterkin delivers some of the tricky rapid-fire lines as if read from the script rather than deeply felt.

'Second' starkly highlights the very current theme of Generation Rent, where home ownership is only a reality for the older generation. The story cleverly accelerates at a rapid pace through a courtship, marriage and family life, where obtaining the asset and, therefore, the security of a mother's flat is the only aspiration. It deftly questions how far would someone go to obtain domestic safety for their family.

This two-hander between Katya Morrison and James Morley is highly charged and bristling with emotion. Morrison is the standout performer, whose efforts to cope with financial hardship are beautifully understated and heartfelt. Director Matt Harrison uses the bed at the centre of the stage throughout the play to brilliant effect here, as the two actors repeatedly strip and make the bed up with multiple batches of fresh linen. The mundane nature of the everyday task contrasts starkly with the dark realities of the story as it unfolds.

'Third' moves to the future: a nightmare 'care home' of sorts where residents are squashed four to a room. In a horrifying twist, families receive financial compensation if residents agree to curtail their stay at the home by ending their own lives. Seth Rook Williams' lighting design comes to the fore in this part of the play. Four corners of a room are strikingly highlighted as the four old people shout, swear, converse and laugh with and at each other. Each performer is very strong in this section, but Hannah Farnhill is heartbreakingly timid as the new arrival and Ben Butler is brilliantly outspoken as the resident convinced his family will eventually come for him.

The tight space of the Finborough creates a challenge for any director. Under Harrison's deft direction, the characters play to three sides of the stage, creating a real connection with the surrounding audience. It is notable how rapidly, and convincingly, the intimacy develops between the characters, especially in 'Second' and 'Third'.

All the actors are dressed neutrally in grey and gender almost seems incidental. No one has a name, but this is a plot device that demonstrates the strength of Fritz's writing. Each character is both believable and recognisable; any one of them could be any one of us. Each part of the play is very thought-provoking, as the audience is led to ponder their own future care in the face of financial pressure. To have many of these characters played by such talented young actors shows that the future of British theatre is in safe hands.

Box Office: 0844 847 1652, www.finboroughtheatre.co.uk

Picture Credit: Helen Maybanks

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