Review: 180° Chord, Greenwich Theatre Studio

It’s the first week after New Year, my phone is telling me it’s -4 degrees outside, and most people went back to work today after the festivities. As circumstances for attending the opening night of a play, I can’t think of a less auspicious start. Those like me who braved the bitter outdoors to witness this performance of 180° Chord at the Greenwich Theatre Studio were, however, richly rewarded with a substantial slice of superbly written and well-performed theatre, ripe with complexity and depth.

180° Chord is a well-established two-act play by Chris Leicester, who also directs. This would normally make me wary – the lack of another perspective can easily blunt the impact of a work and limit its range of expression. Not here. The script at the heart of this play is well planned and meticulously thought through. The result is a compelling drama about an ex-copper (Paul Findlay) who finds himself banged up (I won’t spoil it and say why) with one of the very many criminals (Dominic Thompson) he sent down in his long career. During his first thirty-six hours in prison, a riot starts that quickly gets out of control and seemingly can’t be quelled by any kind of authority. The riot becomes a kind of apocalyptic pressure cooker in which the drama unfolds. It starts as nothing more than an incidental backdrop but develops in urgency and becomes central to the story and its sad conclusion. 

The work has a strong structure with varied pacing: some scenes are no more than two sentences, some are substantially more, some are heartfelt monologues, and some are brutal dialogues. It is the strength of this writing that means that the direction (which is quietly effective) is rendered largely irrelevant. In terms of lighting or set, there is nothing on stage to set the world alight here, yet there is one critical element present: the two actors. 

Either Leicester is the world’s most skilled casting director, or he really lucked out when he found Findlay and Thompson. The range of expression they bring to both their roles is often electrifying: the intensity with which they face up to one another and themselves can be spellbinding. They oscillate between belligerence, vulnerability, grief, and humour as they draw us into their complex and layered story. Importantly, neither of them is afraid to pull back and really lean into the darkest corners of their characters. They present truly interesting and developed portrayals that demand our scrutiny: there are no lazy stereotypes here – you must pay attention if you are to understand how these two men became who they are. 180° Chord is substantial by fringe theatre standards at nearly two hours in length, but it does not overstay its welcome. Findlay and Thompson make every second count with unflagging energy until the very last beat.   

Underneath all of this lies a pertinent commentary about violence, abuse, integrity and self-worth that will challenge the way you view the world of crime and the justice we expect to be served to those who indulge in it. 

Temperatures are not forecast to improve during the duration of this play’s run, so I can only urge you to wrap up warm, because you really should get out and make the effort to see it: this is a play that deserves the warmest of receptions.

Written & Directed by Chris Leicester
Produced by Too Write Productions

180° Chord plays at Greenwich Theatre Studio until Sunday 18 January