Review: WORLD'S END, King's Head Theatre

It's the late 1990s and Ben (Tom Milligan) and his mother's Viv (Patricia Potter) have just moved to the World's End Estate in Chelsea from Norfolk. Their neighbours are Ylli (Nikolaos Brahimllari) and his son Besnik (Mirlind Bega), who have escaped the Kosovo War years before. When the two teenagers find out that they both love video games, they begin to get closer and strive to break free from the (extremely different) conventions set by their parents.

James Corley debuts as a playwright with World's End, a tender look at sexuality and family. Directed by Harry Mackrill, the play analyses conflicts of varied natures: from real-life images of war to difficult household dynamics, Corley writes a layered and sensitive piece of theatre. They all have their own battles to fight: Viv struggles with her past and her son is troubled and anxiety-ridden, while Besnik isn't being accepted by his extremist father.

Corley's combination of intense and unique characters allows Mackrill to paint a remarkably complex picture. He keeps the narration linear but the direction blurs the lines between storylines and settings, placing the units side by side to highlight the likeness in their dissimilarities. Ben is Besnik's direct opposite: fidgety and stammering while his Albanian friend is suave and confident, they complement each other gingerly as their shared chemistry builds sexual tension. Viv and Ylli, both single parents, approach their roles carrying insecurities and doubts; they scramble to do what's best for their children but are blind to their true needs.

While the teenagers spend more and more time together, their backgrounds seep through the relationship they share with their parents. Ben's been caught in the crossfire of an ugly divorce, while Besnik's mother died of cancer shortly after they relocated to the UK. The cultural differences between the families pop out of their conversations with strikingly contrasting worldviews and veiled misogyny while hostilities play out from an invisible and silent television that's always on in the man's flat.

Milligan monopolises the scene with an overwhelming performance. He portrays Ben as a wallflower who's slowly breaking under pressure. He's consistently on edge as he passionately tells Besnik about his latest game or while he attempts to reconcile his mother's personality with his more secluded inclinations. The actor shows flashes of Ben's relaxed disposition, shooting glimpses of the carefree self he probably used to be. Bega - who's making his stage debut with this production - bounces off him with an urbane and attentive persona, delivering a character who's aware of his identity and isn't afraid to take up space.

Brahimllari and Potter couldn't be more different, their characters are bound by their backgrounds and unshakable in them. Viv desperately tries to find a sense of stability and approval while Ylli still grapples with fitting in, kick-starting part of their sons' distress. Corley builds intricate parts who are solid in their individuality and who become both the culprits and victims of their own story.

World's End is a strong debut for the playwright, marking the conclusion of another successful Queer Season at the King's Head.

World's End runs at King's Head Theatre until 21 September.

Photo credit: Bettina Adela

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