A psychological horror more clever than impactful
Deepika Arwind’s latest play comes to the Southwark Playhouse and promises a psychological horror pitting the terror of speaking out against the fear of staying quiet—an exploration of populism, power and the use of fear as a weapon. It’s well-written, but lacks punch.
The story sees Mehrosh, a celebrated student activist, invited to an isolated house in the middle of a forest to take part in a debate with a powerful political adversary, Bina, from the ruling party. Also at the house are debate-organiser Jai, a now-independent senior TV journalist who longs for civil discussion, and Scherezade, an ex-influencer who now works as Bina’s PA.
The ingredients are certainly there. Arwind is clearly a skilful and considered writer adept at finding a character’s voice and articulating ideas. The arguments are smart and driven and the lines flow well on the page. There is obvious talent among the actors, too, who each have their moment in the sun. Antony Bunsee excels in Jai’s asides and growing frustration, Ulrika Krishnamurti nails the truth and humour in Scherezade’s particularities, Hussina Raja brings Mehrosh to life in her confrontations, and Tania Rodrigues’ steals the show with Bina’s grounded political conviction and surprising integrity.
The main issue with the piece is its promise: psychological horror. While there is something interesting about most of the choices, they struggle to make a meaningful impact here in the Southwark Playhouse. Indeed, there are times it feels like the ideas contained in Phantasmagoria would be best suited to a brilliant essay and a couple of poems; here, in the liveness of theatre, there’s something missing. Expectations aren’t met.
The play reads better than it is presented and there are certainly powerful moments. Sometimes, though, the point the characters are making is too obvious and it feels like we are witnessing an argument out of convenience rather than it being earned. Perhaps the play requires the actors leaning more heavily into their “types”, or further away, but there’s a middle-ground feeling here that loses power. The character of Mehrosh, in particular, seems to be more reactive than active and often slows the play’s momentum.
The design is fantastic, from Roisin Martindale’s set to Neill Brinkworth’s lights to Dinah Mullen’s sound. Each understands the assignment and contribute well to a growing unease and thrumming background tension. There is no shortage of ability involved in this project and the show has great potential. It might simply need some more time to find its rhythm. Divisive politics and unbridled social media are dangerous but, as it stands, Phantasmagoria is doing more telling us than showing us the promised “chilling consequences.”