Review: ROT. HUSK. LOSER., Park Theatre

The revue’s two central plays, Husk (by Simon Castle) and Ripe to Rot (by Somebody Jones), are bookended by a prologue and epilogue by Nusrath Tapadar.

In her comedy-drama opener, Bengali artist Tapadar navigates Ramadan fasting for Gen Z Muslim women as friends Alice (Corinna Brown) and DJ (Kemi Awoderu) debate whether inhaling fruity vape fumes constitutes a breach of fasting. 

Brown and Awoderu inject high energy into their two-hander as they poke and prod each other on faith, family and ‘walking pube’ boyfriends. The underlying tussle between Haram and Halal is ever present as the wannabe devout DJ (Khadijah) fears ‘my mum is gonna kill me when I go hell!’. 

The pals’ charming innocence mask greater worries of acceptance and conformity, as well as the real-life problems of fasting in the fast-paced modern world. Subtleties around Alice’s struggles hint towards pregnancy or disordered eating but neither is fully addressed, making this prologue an ideal introduction to the following plays that brim with buried conflict and simmering desire.

A quick strobe lit reset and muffled arena soundscape ushers us into Husk; the second and strongest piece set entirely in an emerging band’s green room. 

Tensions reach near fever pitch as viral TikTok group, Husk, prepare to dazzle a 19,000 strong crowd and panel of industry heavyweights. Gone are the London accents of the prologue as we head to Manchester with Brown and Awoderu undertaking new roles as drummer Maz and singer Skylar, whilst guitarist Raphi (Cameron Tharmaratnam) and manager Lee (Shadrach Agozino) round off the quartet. 

The gents bring a new intensity to the fold as the ladies ramp up their hysteria, fuelled (mostly) by pre-stage jitters. Writer Castle orchestrates a tight, interwoven crisis as a venue malfunction curtails the band’s stage time and jeopardises their group dynamic. A drug induced drum sesh from Maz (cleverly left offstage) spills into the green room as the bandmates reel from a car crash performance. Tharmartnam’s conniving will and goading body language boil over as he is likened to a ‘Poundland Troye Sivan’, leaving him few tour buses left to throw anyone under. 

Agozino offers a strong, levelheaded contrast to the fracturing group as his ‘talent for finding silver linings’ conceals his true ambitions of self-promotion. Husk is something of a misnomer as this bitesize play is fully formed and packs a punch worth cheering for.

From guitarist to tomato plant has got to be one of the most surreal character swaps out there, but Tharmaratnam raises to this vine-leaved occasion with aplomb. Ripe to Rot follows the lives of young prison inmates which you may be forgiven for thinking is set up as a mixed-sex accommodation. It slowly becomes clear, however, that Alondra (Brown) and Essie (Awoderu) are not walled up with a male cellmate but rather the human embodiment of the tomato plant Alondra is growing on her window sill. 

There is a feeling of Little Shop of Horrors (without the horror) as this abstract tale is enticingly wholesome in a setting that is preoccupied with dramatizing drug culture. Thamaratnam’s ‘Tommy the Tomato’ is doe-eyed perfection as him and Brown share the fondest bond of the revue, proving the human instinct to nurture goes beyond prison walls. Understanding Jones’ work with Clean Break, it’s no surprise Ripe to Rot is abundant with warmth and nuance in its surrealism. 

I’m sure Rotten Tomatoes would have a lot to say about ‘Tommy the Tomato’ so take this plum opportunity and see an exciting array of new rep theatre.

Director: Guy Hodgkinson
Playwrights: Simon Castle, Somebody Jones, Nusrath Tapadar
Assistant Director: Holly Stevens
Casting Director: Amy Jackson
Lighting Designer: Benny Goodman
Costume & Set Designer: Debbie Duru
Composer & Sound Designer: Isaac Stuart
Produced by Mouth Studio and Grey Castle Productions in association with Park Theatre

ROT. HUSK. LOSER. has completed its current run at Park Theatre.