Review of ‘Fell’: “A brotherhood of trust”

The Barons Court Theatre hosts the London premiere of this piercing new play dealing with the struggles of two teenage outcasts. Guillermo Nazara shares his views on the show, to let us know more about this play where grief can become the road to happiness.

Have you ever felt the urge to run away just so you know who would come after you? Have you ever had the need to hide only because you want to see if you’ll be found? We tend to wish for the simplest things. Still, so many times they seem too out of reach. Love, respect, understanding. Sentiments that should surround us at every stage of our lives. And yet, they are denied to us on too many moments – even by those who are supposed to be in this world to protect us.

The harrowing edges of truth cut through the air of the Barons Court Theatre stage this week, with the London premiere of Fell. A new play revolving around a 15-year-old seeking refuge in the forest after fleeing home, his now vague path would soon be redefined by a new friendship: an older teenager who’s already been living there for a long time, when he decided to sever all ties with society. A tale of struggle, clash and mercy, the bond they develop will rapidly grow stronger through the days – to be turned into brotherhood.

Written by Chris Salt, the play is a gripping, compassionate reflection of the injustices that break the human soul – speaking to the hearts of those whose past has been carved by bullying and mistreatment, but also to anyone who feels unfairly treated by whom should have been there for them. Piercing, sincere and resoundingly direct, the piece masterfully combines nail-biting tension with an insightful psychological look into the burdens of everyday life – featuring exceptionally well-crafted dialogues that build up both pacing and interest while never giving away its naturalistic style.

Directed by Janys Chambers, the limited scenic space is however no obstacle to paint a highly evocative atmosphere, in some scenes with incredible realism – something even more praiseworthy taking into account where the plot is set. Such an effect is duly ensured and accentuated by its self-evidently brilliant cast. Formed by Tom Claxton and Ned Cooper, their effortless spontaneity and stunning rapport create a solid connection that, despite the intensity of the narrative, only consolidates without the slightest fracture.

Sharp, profound and genuinely relatable in spite of its extremeness, Fell has actually risen up as one of the most haunting, thought-provoking plays fringe theatre has to offer during the season so far. Remarkable performances and a more than compelling script constitute this unbreakable tandem of emotions, where its surprising twists and turns reject the melodrama in exchange for honesty and integrity – capable of showing us, with one single stroke, the harshest and kindest side of the human spirit.

All pictures credit to Keith Freeburn.

Fell plays at London’s Barons Court Theatre until 7 October and at the Arcola Theatre on 29 October, apart from other venues across the UK. Tickets for all locations are available on the following link.

By Guillermo Nazara