Political turmoil breaks in the Southwark Playhouse this new drama exploring the consequences of social upheaval. Guillermo Nazara shares his views on the show, to let us know if the production is worth raising its spectre.
There’s nothing scarier than speaking your own mind. I should know – try writing a bad review about a show with a combative fan base and see if you can survive… Or anything someone else with power doesn’t want to hear, or to be heard by others… Political corruption is probably one of the most sumptuous topics for writers to sink their teeth in. The drama almost writes by itself – and quite often, not in a simple way. Is the mighty villain actually that terrible? And even more haunting, are we truly coherent when it comes to the values we defend?
The Southwark Playhouse hosts the London premiere of Phantasmagoria, a new piece by Indian playwright Deepika Arwind revolving around social class justice and the obstacles set up by the establishment. First previewed in Coventry and Newcastle last month, the show presents us with Mehrosh, a young activist invited to take part in a televised debate face-to-face with the leader of the ruling party. An excellent premise to begin with, the script manages to engage fast and evenly due to the intensity of its dialogue – which, despite a few minor cliches in both content and delivery, still gets to enthrall the audience thanks to its insightful approach and grasping tension.
Effectively combining humourous remarks through its generally serious situations, the story is recounted with satisfying pacing in both introduction and conflict. However, the conclusion appears to be a bit unfulfilled – somehow, feeling as if the possibilities involving the characters’ evolution and their aftermath are not completely explored. On the other hand, though the plot is not aiming for surprises, the ending still looks slightly predictable – not providing us with that wowing, perhaps shocking, component to close on a higher, shriller peak.
In spite of these flaws, the journey is still rather enjoyable – a great deal of it coming from its exceptional cast. Playing their roles with flare, mutual rapport and alluring magnetism, Antony Bunsee (Jai) and Tania Rodrigues (Bina) give a most memorable performance – portrayed with naturalness, sophistication and correct timing. Yet, some snippets look a bit rushed, with many of the beats (crucial for the efficiency of the lines) seeming non-existing or ignored – a problem most possibly stemming from the direction. On the other side, Hussina Raja gives a competent rendition as Mehrosh, while Ulrika Krishnamurti stands out through her quiet but incredibly charming and strong interpretation of Sherezade.
While still needing to polish a few elements, Phantasmagoria is far from being a ghost image of a good show – counting on enough strength and appeal to make of it a recommendable option. There’s turmoil and struggle. There’s laughter and tears. And though still trying to speak louder, there’s a latent voice dwelling within. With a compelling set design, adequate lighting and a few unexpected staging effects, the show is at the verge of taking off – it just requires a better resolution may be not to propel it, but to keep it in the air until its very finale. Meanwhile, though, it’s still a safe flight to catch.
All pictures credit to Nicola Young.
Phantasmagoria plays at London’s Southwark Playhouse Borough until 25 November. Tickets are available on the following link.