REVIEW: PUNK ROCK, Lyric Hammersmith, September 10 2009

Punk Rock seems like an apt title for a new play by Simon Stephens, the playwright for whom nothing is a taboo subject. Having covered topics such as terrorism and the war in Iraq, Stephens now turns his hand to teen angst. Not quite such a hard-hitting subject, you might think, but Punk Rock will nonetheless leave you disturbed by its stark reflections upon the youth of today.

The play is an ensemble piece, portraying seven very different eighteen-year-olds, each completing their A-Levels at a Stockport grammar school. Stephens consciously chose a middle class setting in order to appeal directly to the theatre-going demographic, emphasising his point that the events of the play could occur among any group of teenagers. Clearly Stephens wants his audience members to realise that their well-brought-up children, studying at reputable schools, are not exempt from the depression and bullying exhibited in Punk Rock. However, the play's message will not resonate with parents alone. Younger audience members will undoubtedly identify with Punk Rock's range of engaging, realistic characters, and many will be comforted by a tale which demonstrates that their feelings and experiences are surprisingly typical.

One character, nerdy Chadwick Meade, responds to the class bully in a way which is inspirational in spite of its pessimism. One of the highlights of the play is his speech explaining that he is not affected by his bully's taunts because they are meaningless compared to the terrifying future the world is facing. Chadwick's matter-of-fact declaration of society's hopelessness would be powerful regardless of its speaker, but it resonates particularly because it shows what a frightening future lies ahead for those on the brink of adulthood, whose generation inherit the task of facing global warming, economic downturn, and surely many more crises to come.

By embedding such a strong, didactic moral message in his work, Stephens risks overbearing the art and entertainment of the theatre. However, the humour running through Punk Rock ensures that the play is as enjoyable as it is thought-provoking. The teenagers' crude jokes are reminiscent of the hit comedy The Inbetweeners, in which cast member Henry Lloyd-Hughes also stars, while the lead character, William Carlisle (played by rising star Tom Sturridge), keeps everyone giggling during his futile attempts to woo the new girl in school, Lilly Cahill. The first half of the play is light-hearted, but it is no less engaging than its harrowing later scenes.

With the recent success of Spring Awakening, also originating at the Lyric Hammersmith, it seems a trend has been set for theatrical expressions of explosive teenage rebellion. Punk Rock's dramatic conclusion does add to the audience's enjoyment, but in fact the play would still be compelling without it, thanks to its vibrant characters and a script which is as amusing as it is provocative. With the great reviews Punk Rock has received so far, we can be fairly sure it won't be the last play at the Lyric to examine the modern teenage experience, and neither will it be the last we see of this promising young cast.

Punk Rock is at the Lyric Hammersmith until 26 September 2009 and at the Manchester Royal Exchange from 7 to 31 October.

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