The best "Royal Court plays" comment
keenly on the way we live both within ourselves as individuals and
collectively, either in small specific groups or wider society. On that
score, this unusual piece of work stands up well. Protagonist Claire is
an "identity consultant", helping victims of identity theft to recover
a sense of self-possession, people who want to improve their credit
rating by re-tailoring their socio-economic profile, etc. Through her
we are shown that to all practical intents we
are the data on us: on what we buy,
where we live... we are how we are seen. Literally so: the play takes
place alternately in Claire's office and in an underpass outside, a
dark and violent place despite CCTV cameras. Britain is now notoriously
the most electronically surveilled country in the world; the average
town-dweller may be recorded by over 300 cameras in a day. Yet far from
this increasing our safety, the play suggests that there may be a
generation which, having grown up with this concept, engages in
violence precisely
because
they will be witnessed doing so – hence the use of phone-cams to record
attacks.
This is a vast and potentially arid canvas, yet through Claire (Tanya
Moodie), her young work-experience intern, her clients, casual lover
and the teenage underpass underclass, the writers keep matters vital
without, for the most part, getting confused or confusing. Writers,
plural: for as part of the Court's 50th-anniversary celebrations it has
revisited its occasional 1970s project of collaborative writing. April
de Angelis, Stella Feehily, Tanika Gupta, Chloe Moss and Laura Wade
each drafted two scenes which were then collectively worked into a
whole. What is conspicuous is the
lack
of tonal inconsistency (apart from a poetic monologue near the end
which sticks out like a dislocated thumb): Polly Teale's traverse
staging keeps matters uniformly astringent... and, appropriately, lets
the banks of audience watch each other as well as the events onstage. I
could have done with some palpable sense of conclusion, but that really
isn't so important here. Just as Dennis Kelly's
Love And Money at the Young Vic
makes for an imaginative yet sharp indictment of the climate of
consumer credit, so the
Catch
collective ably pin the perils of the informational side of consumer
culture.
Written for the Financial Times.