Mark Ravenhill’s Some Explicit Polaroids does not fail to disappoint in its resurgence at Tower Theatre.
Mark Ravenhill’s Some Explicit Polaroids does not fail to disappoint in its resurgence at Tower Theatre. First performed at the Theatre Royal in 1999, over 25 years later its message still seems apt to today’s world. Ravenhill’s work famously centers on connection, capitalism and queerness. Directed by Nick Edwards, its modern showcase encapsulates Ravenhill’s legacy as a playwright and activist, in addition to demonstrating the scenic creativity that theatre has to offer. Though at times the writing kept the play trapped in the past, the actors, designers and direction of the performance kept it very much alive.
Some Explicit Polaroids follows the re-introduction of Nick, played by James Stephen Finn, into 1990s society. Having been locked away in prison for his vicious anger, we learn of his sense of confusion and abandonment in a world that has moved on from feeling. As Nick returns to his past lover Helen, played by Rachel Bothamley, we witness his first experience of rejection. The back and forth between the two, demonstrated Finn’s flawless talent, from his physicality to his ease to fluctuate between emotions- establishing the fragility of the characters within the play. Nick also enters another world, the modern world, where he meets his lover Nadia, played by Lulu Freeman, and her best friend Tim, played by Andrew White. Where Nick feels rejected from the world he once knew, he struggles even more to fit into the current one. The performances playfulness, vibrancy and comedy comes to life in these new interactions. The character of Victor, played by Alexander Astaniotis, is a particular standout. His characterisation is spot-on, from his use of accent to his comedic timing. He also works as a key component in exploring Ravenhill’s comments on the transactional world in which we live in.
The design aspect of the performance is also highly noteworthy. The set design of Millie Weston and Emma Brown, places the audience directly into the 90s. The campness of Nadia and Tim’s bedsit is articulated with walls decorated with drag-idols and madonna-esque figures. The dimly lit room, pours colours of red and pink, reminiscent of this younger generation’s desire for bodies and sex. In contrast to the neatness of Helen’s room on the opposing side of the stage, we can understand this conflict between desire and safety. This aspect is also aided by the lighting design of Samuel Littley. In moments of harsh reality, such as Tim’s illness, the bright lighting brings a rawness to the performance and in aid of Stanley Piper’s sound design, Some Explicit Polaroids really holds a pulse.
At times the play felt a little hard to follow, though being over 25 years old, Edwards direction of the writing is highly applauseable. Though the use of props and stage design encapsulated the world in which Nick has resumed, I think a slight stripping back of props, and particularly the projection would have allowed a greater focus on the bodily connections of the characters. At times, images and video clips of polaroids were visible on the screen as between-moments. Where this was aesthetic, I think the physical appearance of the polaroid camera felt enough and perhaps not even necessary at all. I believe this piece would flourish in the richness of its actors and its words by being stripped back to the physical storytelling.
Nevertheless, this restaging surfaced issues with the transactional, capitalist world we still exist in. Providing some marked performances and showcasing a wealth of design-talent, it continues to demonstrate the depth that theatre has to offer, over 25 years later.
This show runs at the Tower Theatre, Stoke Newington until 26th September. Tickets here.