Distorted realities collide in new play
The real and the imaginary overlap in Shireen Shaikh’s debut play, offers insight into mental health struggles in a society where work can take over our lives and social media can distort reality. It raises questions about who we are when not performing for online platforms or for the validation of our employers – the versions of ourselves that we may or may not fully be in control of, writes Eugenia Sestini.
A middle-aged man losing his grip on reality and a teen influencer are at the heart of this show which explores appearances, human disconnection and pathological denial. Victor is a traveling salesman in his fifties who is hopelessly devoted to his company, Tools R Us. He loves being on the road – the freedom to disconnect from his life as a husband and a father in service to his career. This hyper-independence leads to the breakdown of his marriage, which is why Victor finds himself, from the very opening scene, talking to a mannequin dressed as his wife.
On his silver wedding anniversary, Victor (Kit Smith) is taking this dummy on a special trip. But as he starts making conversation with the mannequin and ordering room service, he begins to experience hallucinations – the voice of his ex-wife won’t leave him alone until he confronts the real reasons for the death of their relationship. “You weren’t there for us,” she tells him.
At the same time, we meet Malika (Christie Fewry), a peppy social media influencer who is experiencing a different kind of haunting – an obsessive ex-boyfriend, who once undermined her confidence and mental health, now seems to pop up both on her phone and in her mind. Having helped her with her social media presence, he now expects her to be forever in his debt. “Fake it till you make it” gets thrown around a couple of times, and Malika, a brand ambassador for a make-up remover, is told that “Everyone has flaws, that’s why girls wear make-up”. At the heart of this play focusing on appearance versus reality, we also find a layer of institutional misogyny.
This ninety-minute drama directed by Julia Stubbs leaves the audience with questions around how a capitalist society can better protect the vulnerable. Malika relies on her steady friend Sophia (Leila McCalla) instead of reporting her abusive ex to the police. Victor keeps asking the universe for a clean break, but he refuses to pay child support or come to terms with his child’s sexual identity. In a world where the rules don’t apply equally in terms of gender, both Malika and Victor’s wife find themselves at the mercy of men who fail to respect them. Both Malika’s and Victor’s significant others remain nameless throughout the play.
The black box performance theatre offers an intimate and flexible space for the parallel stories to unfold with a minimalist set design. Kate Russell-Smith plays both Victor’s ex-wife as well as other minor characters, showing incredible versatility and undeniable stage presence. Kit Smith shines as Victor as Bryan Seisay makes his theatre debut as Malika’s ex, and Fewry’s fiery performance really captivates the audience.
Brockley Jack Studio Theatre until August 29th.
Booking and full details: www.brockleyjack.co.uk
