The Vaults, London – until 20 July 2019
Reviewed by Lisa Harlow
3***
Chaos theory is part of mathematics which demonstrates how a small change in the starting position of a chaotic system can make a big difference after a while.
This idea is explored in this Robbi Stevens The Chaos Theory Play through the eyes of three women who are led to breaking point by life’s traumas and trapped within destructive patterns of behaviour. Each are given the chance to go back to a particular moment in time to make a different choice. And haven’t we all had times in life where we had wished for the same grace?
The introduction is Hollywood movie style drama, with its use of cinematic style imagery and soundtrack. The tunnel venue shrouds the stage with ominous darkness and the regular booming of train wheels above add to the atmosphere and tension.
All of the issues tackled within this play are hard hitting and deeply embedded in a modern London cityscape: mental health, poverty, drug addiction, domestic abuse and sexual assault. Real life traumatic events from London’s history are also included.
The interrelationships of the characters are cleverly woven together as each of the women revisit an earlier decision which impacts on the others.
Becca (Shelley-Ann Harrison) and Aiden’s (Sam Londt) sugary sweet beginnings to their life together hold no clues to the thorny and abusive underbelly to their relationship and how this poison gradually pollutes the air and relationships around them.
Kieran E Sims, playing Becca’s brother and Caroline’s dad, and Kandice Morris as Alesha and Grace, bring the few welcome spells of humour. Kandice’s stage presence is powerful and she always raises a smile in the right places. Rory Kennedy multi-tasking as Mike, Harry and Paul also brought a lot of flair and fear each time he erupted on the stage.
This is not for the faint hearted. This is a play for those seeking a deeper exploration of an inner city’s darker underside and how many can seemingly get entrapped in its spider web of power dynamics, abuse and manipulation. The performances are convincing and the venue well suited for this purpose. Billed as 90 minutes, this actually ran for two hours: too long and my investment in its plotline began to fray.
However, at the heart of this seemingly dark play is a shaft of light: a message of how connection, love and hope can redeem anyone no matter how far gone.
This was a message worth waiting for.