London’s Old Red Lion Theatre hosts the return of this short play exploring the madness of social media and nowadays channels of communication. Guillermo Nazara shares his thoughts on the production, to break down the bits and pieces of a show intended to crack someone up.
We’ve all been in that place where we think that nothing makes sense – that the world has gone mad and that we cannot cope with it anymore. I happen to live in that constant state of mind, but I will deal with those issues later (KILL THEM ALL!) – I’m quite alright. Social media has not helped in that regard. If anything, it’s only messed things up even more. We’ve heard it too many times already (and nagging b*tches -aka, Silent Generation… ahem- love to use it when they need to backfire at younger cohorts). But the truth is that, sometimes, one can’t help but wishing to disconnect and hop off a ride we never asked to be on in the first place.
Ned is not a story of resilience. At least, not in the classical way we conceive it as. It’s not a call for action, but a tale of passive struggle – an introspection into the turmoil that naturally dwells within us and that our communities only helps stir. The premise is actually brilliant: to reflect upon society’s conventions to expose the absurdities of the ways in which we function. But sadly, such a sparkle does not ignite its delivery.
Written by Lola Shaw, who also stars in the lead role of Violet, the play deals with a young woman and her desperation with the modern world. A former community manager, the shocking experience of coping with people online (I wonder if I’m on her list…) will trigger her decision to shut down from all things related to technology. Turning her own flat into both her prison and her safe space, her new state of isolation will not happen in complete solitude – as she will be accompanied by somebody who knows a thing or two when it comes to progress rebellion: the spirit (perhaps?) of Ned Ludd.
Despite assembling a few strong ideas, the final development of the piece (and ultimately, its narrative) is what flaws and prevents it from moving anywhere – let alone, taking off. Though penned with flare and providing us with a nice bunch of quite amusing jokes, there’s not truly a plotline we can engage with. The story ends up at exactly the same point it started – not because its circles, but because it never takes a step forward. The characters are defined, but they do not ever evolve. And there’s no more conflict than what we’ve actually been offered as the setting; all in all, preventing us from wanting to join them in their journey – because basically, that one doesn’t really exist.
Directed by Curtis Kemlo and Thea Mayeux, the staging (though in this case, limited) also seems to be a little squandered – as in spite of a few blocking notes, both characters remain too static, and the montage’s overall visuals lack a sense of progression. The acting, on its hand, is correct – particularly regarding Luke Hammond’s portrayal of the legendary Ned Ludd. However, the text does not give him too much room to excel – as his interventions often do not bring out any flow to the play’s general rhythm.
Despite standing on sound grounds, Ned fails to establish a reliable structure that prevents it from quavering. Though it’s true it doesn’t ever fall down, it’s neither false that it never rises up to anything we may feel beguiled to join in – not to mention, going back to. One same concept can lead to thousands of options, but it’s the author’s responsibility to have an eye for that rare glimmer beaming from the right one. Though comical and intentionally light-hearted, this version still fees too bleak and dull, as wells as in need of a major makeover. In some manner, it shares the same principles as its hero: to change their fate, they shall rewrite their own story.
Ned was performed at London’s Old Red Lion Theatre from 12 to 14 July. Further upcoming shows are available on the following link.