After Circles

Three women are trapped in a mysterious room and are given only 5 words with which to plead for their freedom – when words are at a premium, what do they say? An original piece by young playwright Henry Martin, After Circles explores this harrowing prospect. However, while its heart is in the right place, the rest of the production seems to be in a jumble.

The problem is that the work is incredibly hard to get to grips with – set in a bleak dystopia, with three, virtually nameless, women in a room dominated by grubby clothes hanging from washing lines, they are in no specific place or time. To an extent, this ambiguity is itself key to the power of the drama—the unknown oppressor is seemingly infinitely dangerous, an allegory for those institutions which seek to limit freedom of expression—however, the metaphorical allure overrides the actual narrative, which becomes at times almost incoherent. There are so many questions left unanswered, thoughts that plague the mind throughout, that it becomes a distraction, working against the production at the curtain call.

The story aside, the performances are very accomplished, which create a fascinating situation – like witnessing drama in a vacuum, acting hooked onto random words. Unfortunately this performance isn't itself enough to counteract the incessantly dark and alienating script. Commendable certainly for its intent, and interesting perhaps to some; but not, by any means, to all.