Clever production values keep this mysterious play moving along at pace as we try to piece together the fragments of Eva’s memories of events. Rating
Excellent!
Fractured certainly lives up to its name. It is fractured in presentation, with scenes merging into one another, some cut off mid-sentence to allow the next to begin. Fractured also is Eva’s (writer Shona Graham) mind, her family, and even her body from the car crash that she is in court for. There is certainly plenty to pick apart as scenes come and go and the clock on the wall keeps resetting as if time itself is also fractured.
It all makes for fascinating viewing, from the very first moments when Eva is interrupted from her music listening to be interrogated about what has happened. At first we don’t quite know what it is she is being questioned about, but slowly we can piece the fragmented parts together to form a reasonable picture. That picture is of a disjointed family, a brother (Andrew Atha) who left home and hasn’t been back, a daughter who also left but did go back, and a car crash. What’s missing is how they all are interlinked and just why Eva is finding it so hard to remain in the here and now and not let her mind leap between moments.
Fractured is one of those shows that could fall flat on its face if not handled correctly. It has to trust its audience to not lose track of when, where or even why we are where we are in each scene. It also has to trust us not to give up trying to follow along. But, assuming you are willing to do so, what you get is a complex look at addiction, mental health and family relationships. The play also highlights how the truth can so easily be distorted, not maliciously but simply through an overwhelmed and damaged memory.
Sally Wood directs the piece skillfully, getting performers on and off without interrupting the fast-paced narrative. She does this by making full use of the space, bringing actors on from the back of the room or having them sit on the seats beside the stage. This tactic is used to great effect when Eva finds herself talking to her counsellor (Misha Salinas), before having to suddenly pivot back to the courtroom and Samantha Kalnins-Wright’s barrister. It keeps the momentum up and the audience on edge as the lines between scenes become more and more blurry.
Graham’s script is littered with plenty to build upon the idea that all is not as it seems. When she tells her counsellor she feels “yanked around on a wonky carousel by a time goblin” it’s hard not to feel the very same is the case for those watching. But it’s this yanking around that keeps us interested in where this might all be leading Eva.
As we do start to reach the end of the journey, Rachel Sampley’s video design adds a further layer to help us along the way. Again, Wood’s directing makes excellent use of this as the backdrop takes us at last to the true events that Eva has been unable to recall. However, the ending is a little too drawn out as it tries to wrap up a number of ideas, and could really benefit from some refinement.
Fractured is a fascinating and intriguing watch. The jagged nature of the script keeps us trying to guess where it is leading. It’s one of those plays that could so easily have life beyond Edinburgh, and would grow with the benefit of more space and time to really delve deeper into it all.
Written by Shona Graham
Directed by Sally Wood
Video Design by Rachel Sampley
Sound Design by Matt Farrugia
Produced by BJA Productions
Graphic Design by Adam Cottle
Production Assistant: Evie Truman
Assistant Producers: Zava Productions
Fractured has completed its run at Underbelly Cowgate as part of the Edinburgh Festival Fringe.
