‘Quantum Entanglement’ review
‘exceptionally written […] [with] the calibre of talent clear to see and a joy to watch’
Quantum Entanglement, written by Lottie Roddis and directed by herself and Becca Moran (with Charlie Breay as Assistant Director) follows two best friends managing an unexpected pregnancy. The play is exceptionally written, following the emotional turmoil and distress that comes with the decision to terminate with heartbreaking honesty. The writing allowed an emotional journey for the audience, bringing comedic relief in the character of Bitey (Rufus Brierly), and reminding the audience of the human versatility throughout.
The set was basic, featuring only a table, bench and four chairs, and a small table doubling as a bar. Props were used minimally but fantastically by the cast; anxiety and discomfort were perfectly demonstrated in the way they played with the bottles mid-conversation. There was no stage lighting, presumably because of the location being upstairs in a pub, however the overhead lighting left the audience feeling immersed and exposed, and allowed the tense atmosphere to submerge the room.
The direction was clearly brilliant throughout. It was immediately evident that the cast completely understood their characters’ journeys and relationships deeply and this authenticity was crucial to the immersion of the audience. Quantum Entanglement was very proficient in feeling highly naturalistic and rooted in the setting, with only a few choices - such as Bitey’s audience interaction and Sadie’s (Bea Prescott-Khan) final monologue being directed to her foetus - feeling a little out of place; it would have been great to see these woven in to the show a bit more throughout. Despite these brief moments, the direction was fantastic. Sami (Sophie Partis) remaining on stage throughout almost the entire play was an incredible choice, and brilliantly orchestrated.
Finally, the cast of this production were truly incredible. Bitey, played by Rufus Brierly, was exceptional, consistently reminding the audience of individuals they know who behave similarly in equally serious situations. Sophie Partis, playing the role of Sami, was a standout of the night: the character’s emotional maturity was perfectly articulated through the actor, and the empathy the audience was left feeling from her was especially notable.
The humanity and relatability of the interactions between Matthew (Jack Radcliffe), and Clair (Nia Keogh-Peters) were fantastic, and the authenticity of these performances made it impossible to not be reminded of emotions and interactions which resonate with everybody. Oliver (Harry Robinson), and Sadie (Bea Prescott-Khan) were consistently incredible, it was genuinely impossible to not empathise with both characters and the experiences they had limited choice to endure. Occasionally the performances throughout the cast were blanketed by a lack of projection, and in such a small performance area it is understandable, but a shame with such strong writing and performances. Nonetheless, the calibre of talent was clear to see and a joy to watch.
Overall, this show was a great success, providing emotional insight into the struggle women, friends and partners experience through pregnancy terminations.
By Alice Toner.