An interesting play covering important topics with some great moments that aren’t quite enough to make this production a must see
Paper Cut, written by Andrew Rosendorf, is a play about a gay American soldier returning to civilian life while suffering the mental and physical effects of the war which left him severely injured. This production at the Park Theatre is this play’s UK premiere having previously been performed in the USA.
This play features 4 actors, all of whom gave solid if unremarkable performances save for a few moments dodgy American accents with English twangs creeping in. There was no stand out performer or moment of acting brilliance, but the biggest positive reaction I got from the night was a scene featuring Tobie Donnovan’s character Harry and Callum Mardy’s character Kyle at Ground Zero. This scene added some much-needed levity and relief to the play and both actors delivered the comedic beats excellently and they seemed to play off of each other very well.
This is an intense and heavy show tackling serious topics and serious emotions, and I felt relieved that the show is only 90 minutes long but even with a 1 act running time there were moments where I was just willing a scene to end. Every character seems to be on the brink of tears or shouting at a moment’s notice throughout. This is particularly true of Jack played by Joe Bolland, who you really start to feel sorry for as he grapples with reuniting with his now much-changed brother, but the heavy emotions and minimal range that the script allows him to show makes the character seem a bit one note.
The flashback scenes between Kyle and Chuck, played by Prince Kundai, were played very well and the actors were able to create some real chemistry on stage in these scenes. This chemistry however seemed entirely absent in the present-day scenes with the script making it seem that these characters have no bond at all. I do understand the distance that was being shown and how much had changed between them, but it meant that I did not believe this modern-day couple actually had any feelings for each other, unlike the couple we saw in the flashbacks, who were both clearly enamoured with the other.
The lighting in this production, designed by Lucía Sánchez Roldán, was a highlight for me. The lights hang in a straight line directly down onto the stage within touching distance of the actors and it helped to create some really striking moments. The lighting design was able to transport you from a small New York apartment, to an Afghani compound brilliantly, and added some wonderful visual interest to the play.
One creative decision that I did find bafflingly however was the use of gold confetti in the final scene. The lights come up and there is gold confetti strewn all over the floor. I think it may have meant to be representing sand, but it was ultimately confusing and a bold creative choice that did not seem to have any real payoff.
This play tackles some interesting topics, and has some moments that work well, but this is ultimately let down by the slog that certain scenes put you through. There is definitely an audience for this play, and there are some strong acting moments, so it is worth seeing as long as you go into the show fully aware and prepared for what you will be subjecting yourself to.