‘Room for Doubt’ review
‘an enduring and remarkable feat’
Walkabout Productions’ play Room for Doubt utilises immersive theatre to the fullest, making an audience forget they are in the middle of a performance, and instead debating the fate of a woman’s life.
The play immediately grabs the viewer's attention and retains it throughout with its impeccable use of the space and giving the audience the ability to interact with the characters. The jury is debating whether Emily, a practising nurse, committed a crime by assisting in a client's death, and if she did, does she deserve time in prison for her actions? The narrative effortlessly conveys the current discourse surrounding the illegality of euthanasia in the United Kingdom, which is due to the commendable writing of Raphael Henrion (who also served alongside Robyn Bradbury as Co-Director).
The directing shone through both the presentation of the jury and the evidence they had to sleuth through, which are all organised and written with such sincerity that it is impossible not to be immersed. It also allows the audience to understand easily while seamlessly being able to bring them into the debate. For instance, the audience was seated in between the main jury members, lanyards were used to render those who wanted to interact with the main jury noticeable, audience members were allowed to read evidence, and they could also place their vote of guilty or not guilty. It was exceptionally gratifying to realise how our votes would have a hand in the decision reached.
The acting all-around was top-notch, as working with such an authentic and dramatic script would scare many off but these actors conquered the challenge and worked together in amazing harmony. There was also the constant need for improvisation, both with their fellow actors and the audience, that these actors handled beautifully. Despite a few awkward pauses, they always kept the scene flowing and reacted to everything occurring around them, making being invested easy. A standout performance for me was delivered by Orlin Todorov, portraying the foreperson whose job is to keep the others in line as the debate ensues. Todorov has mastered the art of subtle yet unmistakably realistic reactions as he expresses both his evident disappointment in the Jury while keeping both himself and the table in front of him calm and collected. Alysia Orbell also thrives in her role of Sarah, another peacekeeper of the room, with her flawless shifts from a calming, rational presence to one that has no fear enforcing a level of decorum.
These two actors and their roles serve beautifully as a contrast to the others, who each have distinct personalities and opinions concerning the case. One actor who thrived especially with her physicality and vocal inflection was Daisy Martin, who my eyes were constantly drawn to with her ever-present nervousness that was underlined with an unleashed power that Martin conveyed expertly. While Martin portrayed a quite muted character at the table, Grace Graham repeatedly took command of the room with an incredible display of confidence and contention that gradually fizzled into a mellow understanding, matched perfectly with her delivery and shifting facial expressions that sold her character's shifting ideas immaculately. Graham’s assured demeanour often created striking conflict with Alex, a seemingly opulent and logical man, portrayed by Noah Benson, whose clear tone effortlessly matched that of Graham’s, enhancing both performances, particularly in those of tension.
I will say the play fell slightly short when concerning the comedic aspects and their place within the script itself. One character, Patrick, played by Matthew Lo, is presented and written to be a simple-minded man with little input to give on the case, blindly following Mable’s thoughts. While his eventual development is somewhat rewarding, the character ultimately does not meld with the other jurors and comes across as an unrealistic addition. With that being said, Lo brings an energy to the room that cannot be denied, with comedic beats still sticking the landing and Lo especially shining during his solo moments. Ultimately, the script packs a big enough punch to easily amend Patrick's odd placement.
From the moment you enter the building, you can feel the collaborative effort radiating from everyone you see. The director's hearts are on their sleeves as the vision is built around you instead of on a stage, as is commonly expected. It takes a certain kind of talent to create a vision that does not fit the conventional expectation. This exclusive variation of theatre is what makes the play an experience one will have to look far and wide to find anywhere else. The spectacular acting then lifts the play into a level of high-class performance that makes Room for Doubt an enduring and remarkable feat, one that people will walk away from with a stark sense of unease in the best way possible.
By Anna Pile.
Room for Doubt is showing on Tuesday 10th, and Wednesday 11th June at 18:00 and 20:30 each day.