No Exit

IZZY CUTTS REVIEWS THE COLLABORATION BETWEEN UCLU DRAMA SOCIETY AND LUKE BLACKETT

Drama’s first production of the new term was the existential and minimalist ‘No Exit’. The play focuses on three strangers locked in one room who, in their struggle to relate to one another, tackle a variety of philosophical and social issues. Not knowing the play beforehand, I was slow on the uptake of the key twist, but the role of Sartre’s famous ideas of determinism and existence become more apparent by the end. The dialogue is intense, and combined with frequent pacing and rotation, the action is both captivating and stifling. The high levels of tension in this mix of dystopia and realism are maintained brilliantly by this strong cast.

The production was staged in the round, which was the perfect setting for the nature of the piece as well as something refreshingly original for Drama Society. Although put together in such a short time, it still felt professional and polished. Stage Crew’s efforts were seamless as ever; the use of lighting and sound was essential to the clarity of the play but was equally subtle. Madeline Edis’ design channelled the mid-1940s with charming aesthetics, a very fancy couch from the National Theatre and a concierge (Thomas Fenton) who seemed to have stepped right out of ‘The Grand Budapest Hotel’. While the design and technical aspects were made to look simple, they were in reality intrinsic, clever and well done.

In this character-driven play, the cast obviously had a huge responsibility, and they didn’t disappoint. All four actors should be applauded for their captivating and intelligent performances. There were a few times when I worried nerves were getting the better of them, but not one line was dropped.

Alberto Lais’ performance as Garçin was consistent, and use of emotion was beautifully distributed. Kitty Harris (arguably blessed with the most interesting character) stood out from the moment she stepped on the stage. Her portrayal of Estelle was brimming with confidence, sass and humour. She portrayed a character of much versatility with ease. Francesca Dakin, the seductress Ines, seemed to lack confidence, resulting in a performance that wasn’t as daring as it should have been. However, there were moments of excellence in her performance that show great potential. All round, the cast were of the highest quality.

I am sure by the end of the run the nerves will be vanquished – however, there is no reason to be nervous with such a strong production. It was a really fascinating piece, put together remarkably quickly and to a high standard. Luke ‘#BurnBlackett’ Blackett has always been a vocal critic of my reviews, and I was really looking forward to ripping him to shreds. And so, with much sadness, I regret to confirm that it wasn’t awful. Actually, his first foray into theatre was my favourite production of Drama’s so far, and maybe the best UCL show I’ve seen this year.

★★★★★

 Photos: George Washbourn
Poster: Luke ‘#BurnBlackett’ Blackett