Absurd, intense and darkly funny – this uncannily entertaining tragicomedy expertly plays with allegory and ambiguity.
The plot follows three individuals living together in an apparently humble flat; Cameron (Aoife Moss) and George (Christopher Cox) live under Nancy’s rule with what is apparently a ‘mutually’ agreed upon constitution. Nancy (Malcolm Webb, also the playwright) claims these rules-to-live-by protect them from the outside world, but we see the invasive ways in which he dictates their lives. The constitution includes such statutes as the following:
- No Speaking Spanish
- No Franchise Burger Consumption
- Deodorant will not be tolerate
- Swearing is reserved for Fridays
- Strictly no outsiders
- Fish will be eaten every Thursday
Webb juxtaposes moments of sinister control with ridiculous humour and the audience is drawn into the characters’ inner worlds and co-dependent dynamics. As we watch these almost non-events play out, we’re invited to draw connections and infer meaning from these most mundane yet ridiculous scenarios, from enforced group dinners of fish and a single small potatoe or drinking tea with the exact ‘right amount of ‘sugar’ and smuggling Lynx Africa contraband. The story keeps its audience on its toes as we must make and remake our assumptions about what this play is truly about.
The relationship between each character is initially vague but slowly develops throughout. Ultimately ambiguous, we are led to believe in a kind-of cold, hard father-son relationship between Nancy and George, and a spousal relationship between Nancy and Cam; with Nancy as the patriarchal head of the household. But these characters aren’t actually related and can love truly grow in such conditions of control? Is the action an allegory for political regimes of the past and future, or the lines between addiction and freedom versus protection and control. Nancy makes decisions for all in the household with every single move made by Cam and George being monitored and restricted. We see them struggle to leave this clearly uncomfortable and humiliating situation. The play leaves the audience wondering at every turn, why do they stay? What’s truly stopping them from walking out the door and never seeing Nancy again? Is the world beyond that door really so awful?
The clever direction and excellent acting built tension organically and humorously. The transitions between scenes were effective and inventive whilst the set, props and lighting helped paint this subtly uncanny yet familiar depiction of a ‘home’. Moss’ performance had brilliant energy and physicality while the intense highs and lows her character faced were well impeccably executed. These contrasted interestingly with Cox’s goofier, sensitive and genuine performance as George. Webb’s deft portrayal of strangely caring dictator with undeveloped ‘daddy issues’, psychotic tendencies is darkly funny and reminiscent of Red Dwarf’s insufferable, exacting and somehow still palatable Arther Rimmer.
An entertaining and intellectual play with great direction by Alec Osburne, exploring liberties, human connection, and freedom vs protection with accessible humour. Mackerel Thursday certainly delivered on their promise of a unique experience as ‘equally as left-field as it is emotional’.
This show runs at The Old Red Lion from 9th-11th April. Tickets available here.