Review of ‘Cul-de-sac’: “A dead end beyond its title”

London’s Omnibus Theatre hosts the world premiere of David Shopland’s new coming-of-age dark comedy. Guillermo Nazara shares his views on the show, to let us know if this raucous portrayal of the millennial plights booms with generational zest.

They’ve chosen the wrong French term to name the show. The meaning may reflect the piece’s effectiveness (or the lack of it) more than its creators probably wished for. Yet, my experience through David Shopland’s 3-hour manifesto on the millennial middle-age freak-out stands closer to a déjà vu — not because of its resonance (that’s another subject to go into detail later), but due to its undesirable proximity to the unpalatable ersatz of a play West End audiences forcefully swallowed with Barcelona.

If you were not a fan of Lily Collins’s Emily in Paris “olé” edition, the prospects of you liking this one are not looking good. It’s the same tired, underdeveloped premise — with the only difference that, instead of the massively cliched conflict between the well-cultured European and the silly American, the assortment of archetypical (and not too likable) characters has increased more than double.

Five friends with separate backgrounds, journeys, and motivations gather together in an unexpected late-night soiree — suffice to say that fun is the last thing on their agenda. In some ways, mirroring the style of classics such as Who’s Afraid of Virginia Woolf (though only conceptually), the script sets up an interesting basis — which, had it taken any steps beyond its gravitas-wannabe wrap, could have evolved into something deep and meaningful.

It’s the exact opposite, however. All we have is a collection of unsuccessful attempts to bring poignancy to the party (no pun intended) — resulting in a long, long evening filled with coarse dialogue, roughly sketched arcs, and an unending list of dad jokes and slapstick that, no matter how hard the cast tries to accentuate how funny they are, we can’t help but think that maybe our sense of humor evaporated by the time we stepped into the room.

Despite its profound topics, the show’s shallow feel soars throughout the performance. Here, we have a group of friends walking the anxious path of life — concerned about what lies ahead but also weary about what they can’t leave behind. There’s so much potential for introspection and truthfulness to pour through every line. Instead, all those opportunities remained locked down and replaced by a bland, superfluous execution that, when it speaks to the viewer, is just to remind them of their disinterest.

Wistfully, the company can’t salvage any section of the material — nor can their portrayals improve our impression of the production. Though delivering the roles with some minor credibility, their renditions come across as two-dimensional and absent of any chemistry — regrettably, reinforcing our disconnection with the narrative by accentuating the feebleness of the whole concoction.

This is not a play about somebody in a crisis but a play in a crisis of its own. Cul-de-sac may still be able to reach higher levels through a complete and thorough revamp. However, it will take more than a few retouches to realize that the blind alley it so vehemently alludes to should apply exclusively to the universe it depicts. Its coming-of-age theming could have made it an absolute standout. So far, though, it’s just a standoff.

Cul-de-sac plays at London’s Ominbus Theatre until 14 June. Tickets are available on the following link.

By Guillermo Nazara