Happy Savages

Following two couples who lie, cheat and double-cross each other in a quest to be happy, Ryan Craig’s Happy Savages sounds more than vaguely similar to Patrick Marber’s 2004 film, Closer – only minus Jude Law and Julia Roberts.

Craig introduces four characters tangled in complicated emotional webs of their own making, and follows their turbulent relationships over an eventful 18-month period. First performed ten years ago, Craig’s play has been revived for the Fringe this year with a newly-added prologue – a clever add-on but one which only really makes sense when you reach the end of the play. His script is replete with hyperbolic angst and does not make for comfortable viewing at times, yet it contains enough sardonic humour and wry one-liners to prevent it from becoming dismally melodramatic.

Perhaps more than is the case in other plays, the success of Happy Savages rests upon the impeccable timing and emotional conviction of its actors. And, for the most part, the performers in this production cannot be faulted. The talent of Lucy Evans, who plays insecure, sadomasochistic Rachel, deserves particular mention.

The nature of Craig’s script, however, leaves his characters slightly undeveloped – we never really discover the driving forces behind their self-destructive decisions. Considering that one of the main themes of the play is deceit and dissimulation in relationships, perhaps this is intentional, yet it also prevents the audience from fully engaging with the production. That said, Happy Savages is an interesting and well-acted play which successfully portrays the emotional intricacies of modern relationships.