By Molly Taylor and The Almeida Young Company
Directed by Michael Bryher
Presented by Almeida at The Yard Theatre
19th – 22nd February
Cacophony is a new play from upcoming writer Molly Taylor. Set in modern Britain, it tells the story of a group of young people whose lives are rocked by a tragic incident at a protest. In its aftermath, central figure Abbie (played by Annie Hawkins) pens a moving blog post about her experience at the protest, and is unexpectedly catapulted into the spotlight as a prominent feminist activist. Articulate, passionate, intelligent, and pretty, she becomes a Twitter celebrity in short order, finding herself featured on talk show panels and invited to speak at conferences. However, Abbie has a secret that she’s not telling, and it threatens to bring her tumbling down from her new heights of fame, with disastrous consequences.
There is a phenomenal energy to this production, thanks to the powerhouse cast of 17 young actors who play their (often multiple) roles with precision and punch. The story is told as conceptualised flashbacks, a desperate investigation into the past to find how events led to the cliffhanger on which the play ends. I always appreciate theatre with ambiguous endings, and it is especially effective here.
Taylor’s writing is witty and razor-sharp, crackling with humour and social commentary. Michael Bryher has achieved the feat of directing a large cast on a minimalist stage in such a way that it never feels crowded or sloppy – the movement of myriad characters around and over the space is done with exactitude and grace, and the audience’s attention is always focused just where it is supposed to be. Cacophony hums with tension throughout its 80 minutes. Sound, lighting, and visual effects complement and enhance the drama without ever distracting from it. And, again, I must come back to the superb performances from the entire cast, who bring these characters to messy, beautiful, flawed, and vibrant life.
As is often the case with my reviews, my only criticisms here are more about the social politics of the writing rather than the staging of this production. Although there is a powerful scene in which one of Abbie’s (black) friends points out that Abbie is riding on fame only available to her due to her image as a pretty, young, educated white girl, this doesn’t change the fact that this is a story in which a white girl is placed front and centre while her black friends orbit her – often incapacitated, unwilling to speak, or awed by her. Abbie is a complex, flawed character and this is wonderful, but the final monologue from her (also black) best friend seems to whitewash all her sins and paint her as the character for whom we should have the most admiration and sympathy in this story, despite the fact that… it’s not her, but a black character who is almost killed for her beliefs, and then sidelined for most of the play. Feminist art is almost always dominated by the stories of white women, and this phenomenon is almost painfully obvious in Cacophony.
That said, this is an awesomely slick, hard-hitting piece of theatre with a lot to say. I am reminded in story and themes of Feed by Theatre Témoin @ Pleasance Dome, which I reviewed during last year’s Edinburgh Fringe – the subject of online activism and the meteoric rises and falls of its darlings is certainly very topical, as is that of the effects of social media on identity and mental health. I hope this production and cast has more performances still to come, and would highly recommend Cacophony to anyone who wants to see some excellent theatre.