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An exploration of the shades of grey that surround the corporate world and how far you need to go to be part of the “inner circle”.Summary
Rating
OK
Farine Clarke‘s London Zoo, written in 2007, invites audiences on a nostalgic journey back to the turn of the millennium. It offers a poignant glimpse into the evolving landscape of print media amidst the rise of digitalisation. Set within the confines of the UK National News Group headquarters, the cast is replete with familiar archetypes: from the domineering bully, Christian (Harris Vaughan) to the vociferous and profit-driven CEO, Alex (Dan Saski). Arabella (Natalie Lauren) represents the token female figure, while Charles(Simon Furness)stands out amidst the corporate fray as the affable accountant.
Central to the narrative is the quest to acquire The Daily World newspaper, helmed by the enigmatic Kelvin (Odimegwu Okoye), a rare presence as a black publisher in a predominantly white industry. Clarke deftly navigates themes of corporate greed and racial tension, particularly through the nuanced interactions between Kelvin and the subtly prejudiced Sunil (Anirban Roy), underscoring the insidious nature of systemic racism. The relentless pursuit of success at any cost is palpable, highlighting the ruthless tactics employed by those at the top to maintain their dominance.
Corporate jargon permeates the dialogue as the intricacies of power dynamics and mind games unfold. Arabella and Charlie quickly learn a harsh reality: in this world, compliance is rewarded, dissent is punished. The play cleverly employs metaphor, likening corporate hierarchy to the concentric circles of Regent’s Park, while sardonically positioning the protagonists as inhabitants of the metaphorical zoo.
Visually, the set design mirrors the sterile aesthetics of corporate environments, albeit lacking in temporal specificity, and occasionally muddling the era. Transitionary elements and set changes are functional, yet lack finesse, impeding the fluidity of the narrative.
The play’s strength lies in its relatability, drawing audiences into the familiar realms of office politics and toxic masculinity. It sheds light on the barriers faced by marginalised individuals, the struggle against entrenched power dynamics, and the Machiavellian tactics employed to silence dissent. However, where the production falters is in its superficial treatment of these themes. The narrative lacks depth and fails to explore contrasting perspectives, resulting in monotony and repetition.
Clarke’s piece offers a pertinent reflection on the cutthroat world of corporate media, addressing timely themes, yet it falls short of delivering a profound exploration of its subject matter or fully realising its thematic potential. The conclusion feels abrupt and unsatisfying, most likely leaving audiences bewildered, yearning for a more nuanced and satisfying exploration of the play’s central ideas and devoid of an anticipated cathartic resolution.
Written and Directed by: Farine Clarke
Lighting Design by: Chuma Emembolu
Production Manager: Sean Laing
London Zoo plays at Southwark Playhouse Borough until 30 March. Further information and bookings can be found here.
