A well-intentioned debut production following five flat-sharing uni students as they embark on their second year, and deal with a sexual assault accusation.Rating
Good!
Becky Bond’s debut play explores the dynamics of a group of second-year university students, Meg (Bond), Jacob (Paddy Lintin), Sam (Sukey Willis), Lucy (Amaraah Rose) and Will (William Huke) set in their shared flat. Think Fresh Meat, with characters nearly as insufferable at times and the hangovers, but with Tik-Tok and Gen Z humour. The group is a familiar picture: a mixture of personalities, backgrounds, and worldviews (that don’t come into play until conflict arises), ribbing each other at every opportunity. However tight-knit they may be, though, divisions emerge and priorities change following one of the men being accused of rape by a fellow student.
Bond’s first act mostly sets up the group’s personalities and inter-relationships, although watching them banter and in-joke becomes a little tedious. The pre-filmed transitions (styled as Meg’s TikTok posts, featuring the whole group) and scrolls of comments amp up the production quality of the show and reflect the age and generation of the characters effectively, but don’t contribute much elsewhere. There were some memorable moments (Huke and Willis display wonderful chemistry and comic flair in their scenes), but the second act is where Bond’s script becomes interesting, as the group struggles to make sense of the accusation and deal with the fallout. Conflicts occur as each realises where they stand, and things escalate when Meg reveals she is also a victim of sexual assault, involving the same man from the group.
The group’s cosy shared kitchen/living room served as the setting; a sofa and coffee table in the centre, a Persian-style rug, two long blue kitchen benches (at either side of the central entrance flanking the stage), complete with drawers, a fridge and even a coat stand. A detailed and well-designed naturalistic set.
Although the objective is met in terms of educating and raising awareness of sexual assault issues, nuance is desperately lacking in the dialogue and performances, and language is simplistic. Everything is spelt out, meaning that dialogue often circulates the same point.
Director Elodie Foray successfully moulds realistic chemistry within the group, maintaining it until the second act, wherein the rose-tinted glasses come off and reality sets in. There are some issues where line deliveries lack depth. The choice to show Meg’s assault was a bold one, especially as it was from the man’s perspective, with Meg’s side already out in the open and clearly explained. It is well directed, though, playing out like a fuzzy memory.
The cast worked in harmony. Bond delivered a wonderful performance as Meg (the meatiest non-male role), adept in portraying her sudden attitude change and withdrawal following her assault. She represents a difficult truth: that women sometimes consider it safer to forgive and forget than to report. She portrayed her inner conflict around this well. Lintin portrays Jacob with a laddish confidence that could have been pushed further, given that he is shrouded in ignorance. Rose’s Lucy is a strong supporting character, shifting from defending the accused to then going to war on Meg’s behalf.
Bonded Theatre’s partnership with Women’s Aid adds credibility to the show, and Bond never shies away from the main focal points, these being consent and the obstacles victims face when speaking out. The dialogue always leads back to this. Bond is clearly very passionate about the subject matter, and kudos to her for promoting discourse on such an important topic, especially for young adults navigating the world. I do feel that there is more yet to be unearthed and explored. To dig a bit deeper and focus less on visuals and aesthetics would significantly elevate this show.
Writer: Becky Bond
Director: Elodie Foray
Disposable has completed its run at The Union Theatre
