Where a therapy room feels like a repair shop, does the Armour remain intact?Rating
OK
The call of the sitar greets us as we ascend the stairway to the Hen and Chickens Theatre space. Here, Armour awaits us, an inviting new proposition from writer/director Abhishek Passi, exploring some of the complex relationship layers for a young man of the Indian sub-continent.
There is a naivety to the staging of this therapy room, with its simple table and two chairs. A nearby couch begs to be the feature of each session, but is rarely involved. The play is staged as a ‘script-in-hand’ production, though only Catherine Mobley as therapist Meera uses one constantly. In stark contrast, Saar Zutshi, as the young Ayaan is wholly off-book throughout. This creates a strange juxtaposition in which the client (Zutshi) appears more confident and assured than his therapist as they navigate each interaction. Mobley displays considerable uncertainty across each segment, seeking to read each subsequent line and is somewhat delayed in reacting to her client.
We travel through several short scenes, with long black-out intervals, where we can hear changes being made before the next setting is illuminated. It feels disappointing that music is not used to signal the audience, for scene changes and resumption. The abrupt scene changes create further confusion at the end of the piece, where we are uncertain whether we are in transition or if the play has ended.
There are numerous inconsistencies in the ‘safe space’ the therapist would be expected to provide to their client, including brief physical touch, personal commentary and a narrative of blame for consuming chocolates. Similarly, given the rigour of a disciplined upbringing, it’s unlikely a young person would litter the therapy room declaring it ‘confetti’ without being thoroughly admonished.
Whilst Passi relays some tender observational humour, particularly for those of Indian heritage, there is so much more exploration to be done. The historical layers of privileged versus less privileged societies is apparent. The familial dramas demanding appropriate behaviour, or marshalling of family members in mourning reputational damage, are barely touched due to the brevity of the piece. The play seeks to explore generational expectations around appearance, behaviour and achievement. All of these are stressors when living in an alternate Western environment. Quips around the need for therapy, emotional pressure, and today’s digital demands are aptly placed; greeted with snorts, approving grunts and laughter from the audience. Armour has real promise in seeking to open conversations around heritage, therapy, societal pressure and self-perception through the lenses of family, school and social media. As such a short piece, it would benefit from choosing two or three generational or cultural themes, rather than the current multitude. In a therapy room that feels like ‘an emotional airport lounge’, we await clarity.
Writer & Director: Abhishek Passi
Producer: Shreya Shetty
This run at Hen & Chickens is now complete, but Armour plays further dates at
the Old Red Lion Theatre on Friday 29 and Saturday 30 May.
