Review: THE OPEN, The Space

The year is 2050. Brexit has happened (but that's now an obsolete word and people would rather use "The Break-up") and the economy has crashed, leading the United States to buy Great Britain. Trump did what Trump does, and the island has been turned into the Great British Golf Course - or GBGC. When dystopian theatre (but film and literature, too, obviously) is done well, it becomes a mirror onto the contemporary world and the perils that come with it. Regrettably, Florence Bell's The Open drives a compelling concept into a wall.

The piece follows three old friends as they struggle with accepting this new order, but - starting from their characterisation and ending with the plot's major inconsistencies - it presents too many question marks both technical and rational that prevent it to take off safely. Bell (who directed and produced this as well) touches on modern slavery, the dehumanisation of foreigners, national hierarchy, and political faith too lightly to turn her points into satire and draw any kind of social critique.

The sense of uneasiness that should be evident from learning that these people are essentially being held hostage doesn't come from the script nor the direction but from the knowledge that one should feel that way, becoming an external preconception rather than a reflection stemming from the piece. The sluggish and feeble writing doesn't help a play that wallows in its apathy, and the time jumps - which are supposed to strengthen the trio's shared storyline and support the deep bond that unites them - only elongate the length of the show, working against its likely natural pace.

The second act sees a drastic change of scenery (that we won't spoil) that should heighten the aforementioned apprehension and serve as a turning point for one of the characters. However, the plot starts showing a series of elements that, even in a made-up world, don't make any logical sense. The cast are, although, very committed and a breath of fresh air against the grim backdrop. Priyank Morjaria is especially impressive as Arthur, the young man who goes through the most personal development throughout.

Heidi Niemi and Tom Blake are Jana and Patrick, the unfortunate couple who sets off the whole ordeal. They're joined by Emma Austin as Bella, the filthy Rich Woman who's seemingly responsible for a lot of decisions on and about the Great British Golf Course. The show presents an idea that certainly has the potential to pique people's interest, but, at this stage, it's unfortunately not as exploited as it should.

The Open runs at The Space until 12 October.

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