A simple, funny story of an unusual couple
Suitable for 14+
Deadcrush is an unconventional romantic comedy by James Robertson (they/them). It follows a sweet, bubbly woman named Bron, who has fallen in love with David, a dead man. Carrying an ash-filled urn with her, Bron navigates the objections of David’s resentful sister, Annabel, and the confusion of French government officials in order to live contentedly with her soulmate.
Although Robertson’s script and direction are scattershot, they still deliver an original, humorous story. In the Deadcrush programme, Robertson states that they were “interested in the multi-layered forms that love can take,” such as becoming obsessed with people we do not know. Deadcrush, however, turns out to be a single-track story, as Bron only feels an idealised love rather than any complex emotions. Robertson does touch upon the complexities of David’s character, revealing him to be a drug addict, which adds some substance to an otherwise simple story.
Maria-Vittoria Petroni delivers an earnest performance as Bron. While she sometimes lacks tonal variation, she more than makes up for it with her facial expressions. A widening of her eyes or a curling of her lips can elicit many laughs from the audience. Petroni fills this bizarre story with a great deal of heart; Bron’s optimism and love for David are clear in her eyes, making her a delight to watch.
Sammie Court and Jay Lafayette Valentine (they/them) bring fantastic supporting performances. Court, playing Annabel, effectively conveys Deadcrush’s serious side. During her monologue about David’s death, the hostility and despair in her voice are palpable, tugging at the heart. In contrast, Valentine’s performance is comedic perfection. Playing both a priest and the President of France, both utterly bewildered by Bron’s requests to marry David, they deliver every line with such brilliant timing and vocal control that the audience is swept away.
Deadcrush’s technical aspects are in need of fine-tuning. During monologues, the two remaining actors move about the stage in an off-putting manner, suggesting unnecessary direction. The violin score, played by the talented Grace Brown, is lovely but detracts from moments that would be more effective without background noise. The script itself is not fully solid, containing several awkward pauses and random lines. However, Deadcrush remains an entertaining and unique play, brought to life by three excellent actors.