An incredibly witty script
Unapologetically millennial, the play opens with Phoebe McIntosh’s Bec listening to a podcast whilst bouncing on a yoga ball. She is soon interrupted by her ex, Alex (Joe Boylan), completing the small, yet, powerful cast. His awkward demeanour is accompanied by a genuine care for Bec, writes Aneela Aslam.
Her stubbornness and brash nature throughout the piece is deeply situated in the experience of pregnant women in the UK, with references to how minority ethnic women are more likely to die during childbirth in the NHS, a woman’s right to choose, and the precarious “unsafe” nature of hospitals during the COVID-19 pandemic. These references all add to the play’s attempt to bring pregnancy and fertility complications to centre-stage in a digestible format.
Between contractions being called surges by a toxically optimistic Bec, a mythical midwife that never turns up, labour guidance from books and the TV show ‘One Born Every Minute’, the serious themes make for a brash, yet light and comedic tone. McIntosh’s funny, slight-crude and original script, filled with a melody of pop-culture references and profound socio-political debates, earn choruses of laughter from the audience.
The story unravels over one day, with one particularly poignant flashback scene explaining how Bec’s role as a pregnant mother in medical school examinations, provides an emotional intrusion into difficulties of miscarriage.
The show doesn’t debate mainstream fertility politics, instead it seeks to reflect on the experience of pregnancy, not only in the UK but globally. How Bec chooses to face her pregnancy – firm in her decisions against her ex-fiancée’s wishes – offers up an authentic look at the experience of childbirth from a pregnant mother’s perspective. With McIntosh’s enchanting performance, the audience is left reeling from her every action, waiting eagerly for more.
The sounds of foetal heartbeat appear intermittently and set the perfect tone for The Soon Life; a lingering pulse of anxiety accompanied by anticipation. The sudden time-skips and an interesting song of the characters’ choosing on the labour playlist, are a crucial part of the performance. With a focus on sound, the audience is transfixed from start to finish.
This focus is reflected in the script when the pair debate baby names, with “Gavin” being rejected by Bec due to a general dislike of the hard G sound, and Alex insisting that Gavin is “sturdy”.
However, Joe Boylan’s performance is show-stopping as he teeters between anxiety of upsetting Bec, overstepping boundaries with unhelpful advice, and showing real affection to his former partner. Boylan is a standout.
With incredibly strong and moving performances, an incredibly witty script and a unique concept, ‘The Soon Life’ is a masterclass in why culture thrives in London’s local theatres and not to be missed.
Southwark Playhouse until 18th October.
Booking and full details of post-show events: https://southwarkplayhouse.co.uk/productions/the-soon-life/
