Review of ‘26.2 Reasons To Stay Alive’: “Galloping monologue delivers a marathon of instropection”

Alright — there’s no need to panic. I know what you’re thinking after reading that title. And I want you to take a deep breath and say to yourself that everything will be fine. Yes, it’s called 26.2 Reasons. Yes, that’s a reference to the London Marathon’s distance. And yes, its average running time is 5 hours, and this play is set throughout. But no, you won’t be sitting through this performance for that long. For better or worse, it’s barely 55 minutes of character exploration as she takes another jog down memory lane to confront the ghosts and demons of her past.

There’s no denying that its premise is strong, and the script deals with it compellingly despite a few dramaturgical shortcomings. Writer and actress Laura Mugford does a competent job creating an inviting character drawn from her own personal experiences. Consequently, every aspect of its writing brims with authenticity, leading to an instantly relatable role — especially, in terms of background and motivations.

The narrative abounds with resonant themes that contribute to the protagonist’s transformational arc. She was mercilessly bullied at school, and the students weren’t the only perpetrators. It’s a scar that has remained open throughout her whole life. Yet, that hasn’t stopped her. What initially was an obstacle has now become her fuel. And despite her delicate health, she’s determined to have a better run than anyone trying to hold her.

It sounds engaging. And to some extent, it is. Yet, the pathos doesn’t solidify at any point. The issue stems from a lack of dramatic tension. There is a basic conflict, but it’s not sufficiently developed. All the expositional elements in the script should be matched by a similar amount of current difficulties. Although the race serves as a metaphor for the character’s path and the need to detach from her toxic experiences, a more tangible, present threat to her success is imperative to let the viewer participate in her journey.

One may argue that her immune deficiency already assumes that role, but that’s just partially true. It could function as the plot’s main antagonist. However, the text must delve further into that topic to better understand her plight. And ultimately, to make the audience feel as if they were in her trainers on every step of the race. The same applies to all of her lingering strains, which, despite their truthfulness, could still benefit from more probing.

Laura Mugford gives a magnetic rendition as her alter ego. Swarming with captivating energy, presence, and an inspiring sense of resilience, her interpretation teems with confidence, naturalness, and resourcefulness — overflowing with passion for what she’s delivering onstage. And inevitably, it generates the same sentiments in the spectator.

There’s a racing certainty that people will enjoy this love letter to self-belief and personal improvement. Yet, as much as its topics are poignant and the overall concept is adroitly executed, 26.2 Reasons makes a sprint at a higher speed than its subjects can and must take. It’s a promising start, but it should go to greater lengths to unlock everything that its potential offers, eventually reducing the distance between the protagonist and the viewer. And for that, it needs to walk rather than running — the extra mile, that is.

26.2 Reasons To Stay Alive plays at London’s Arches Lane Theatre until 9 May. Tickets are available on the following link.

By Guillermo Nazara