Review: Falling Out, Hen and Chickens Theatre

Hearing the five-minute warning of an imminent nuclear attack would be unwelcome news for anyone.  The prospect of sheltering in a confined bunker for a sustained time is not appealing, as enforced proximity will either bring people closer or intensify their differences.  Falling Out follows two mismatched brothers who experience the latter.

The reluctant inhabitants of this family bunker share very little in common, except being prone to arguing.  Whilst the more intellectual and highly strung Miles (Liam Bull) plans to spend the time reading and learning new life skills, the laid-back and jovial Connor (Jacob Collins) is content to play games and reminisce about fun times from his school days.  After quickly running out of conversation and patience, they are delighted to find an old game console which they share, which calms things down between them.  Their peace is disturbed by the unexpected arrival of Connor’s friend, the assertive Danny (Micky David), which starts the trio thinking they may have had an easier time facing the bombs.

Family-owned nuclear bunkers are thankfully not yet commonplace in the real world, but writers Kalum Wilson and Bull have crafted a world where their existence is not only believable, but a little enviable, as we hear about the deluxe models that include a cinema.  The different personalities of the brothers are fully rounded with both positive and negative traits; their clashes and reconciliations are fully believable, with Bull and Collins bringing their bickering to life through both rapid-fire dialogue and gestures.  As the outsider, David balances presenting Danny’s overbearing attitude towards Miles with the charisma that endears him to Connor.  True to life, the shift from banter to something more sinister is subtle at first, as is the shift in tone from comedy to more serious drama.

As director, Wilson moderates the energy of the cast to effectively convey the breadth of emotions from boredom to excitement, warmth to animosity.  A lot of fun is had at the expense of the brothers, as they express their disbelief in their different aspirations and life experiences, but also a lot of heart as they put their differences aside.  When more tense conflict emerges amongst the trio, the furtive looks between the cast supplement the dialogue to enhance the shifting feelings of the characters.  The ever-present enclosed nature of the bunker is further visualised by keeping the ensemble in near proximity to each other, making the stage appear smaller than it is.  The shifting loyalties of the trio towards each other are also subtly reflected by how much physical distance they position themselves in.  

The sense of limited space is enhanced by the stage being filled with everything you might expect and hope for in a bunker: table and chairs, sleeping bags, air purifier, and many boxes full of supplies (not all of which are entirely useful).  The passage of time, in small or large intervals, is creatively conveyed by Miles keeping track of days on a small whiteboard along with an ever-ticking clock.

The cast shares great chemistry throughout as the story progresses from the gently comedic misadventure to the state of more intensive psychological games playing out.  It raises thought-provoking questions of what people will miss the most in an extreme situation, and whether common ground can be found.  Hopefully the audience will not find themselves in a similar position any time soon.

Written and Created by Kalum Wilson and Liam Bull
Directed by: Kalum Wilson

Falling Out has completed its current run at Hen and Chickens Theatre