Review of ‘Where There Is No Time’: “Hasty designer narrative is far from a model play”

London’s Seven Dials Playhouse presents this new original play about an emerging fashionmonger and his arduous rise to success. Guillermo Nazara shares his views on the show to let us know if this rare little piece is bound to become a high-street name.

There’s no speech about the historical importance of cerulean blue. And there are no sassy remarks about cheese-cube-based diets as preparation for the Paris week. It still is a show about fashion. And a show about its toxicity. Not of the concept itself, but of the industry behind it — and all the scarring sacrifices one must make if they want to stay alive.

Writer Mohammedally Hashemi delivers a decent premise for Where There Is No Time. An emerging fashion designer named Yusuf has come into vogue through his groundbreaking creations. It’s only a few weeks now until his latest collection is revealed to the world, and his new business partner is anxious to see what he’s come up with. He doesn’t know what he will be presenting yet. His childhood friend and model advises him to stay true to his cultural roots — but by doing so, he risks fulfilling his lifelong dream, which is now just a few inches from being grasped.

There’s nothing innovative about it, but its dramatic strength prevails. The idea sets the path and tone for a roster of introspective themes — the clash between one’s individual identity and their collective heritage; the paradox of renouncing your artistic integrity as the only way to survive as a working artist; and the tremendous losses we often face when trying to obtain that one thing we always wanted.

All those topics are hinted at throughout the script, but they are not properly explored. Yusuf’s conflict is introduced, but the text doesn’t delve into it as much as his character arc calls for. Consequently, there’s basically none. The protagonist is haunted by his mother’s legacy and the guilt he experiences from turning his back on his roots. Yet, we don’t see enough transformation, for better or worse, once we’ve passed this starting point.

As a result, the plot feels vapid and occasionally pointless. Things happen, but the lack of structure, tension, and a compelling resolution leaves the entire work in a rather underdeveloped state. The same applies to the dialogue, which can be engaging but generally requires more wit, subtext, and, above all, naturalness to fully function.

The performances demonstrate slightly higher craftsmanship. Albeit none of them stands out, there’s an adequate level of rapport in them, which is usually supported by some casual touches of expressiveness. However, there’s not enough nuance to any of them. And although their execution is somewhat enjoyable, it’s still clouded by a mild sense of artificiality.

There’s something brewing in the germ of Where There Is No Time, but its author seems to have taken the easy way out and excused himself through the title, almost as if warning the viewer that everything it portrays will be done in a hurry. Despite not falling apart at the seams, the play has failed to tailor a script that ultimately suits the story it wants to tell.

Where There Is No Time plays at London’s Seven Dial Playhouse until 28 March. Tickets are available on the following link.

By Guillermo Nazara