The aftermath of a problematic sexual encounter brings Oscar and Ela’s friendship to a staggering halt. They run through the events of the night, trying to understand why they remember things differently. What actually happened in Ela’s flat? It’s her word against his. As their conflicting versions clash, a harrowing scenario emerges. Jack Mullings and Emmeline Hartley write a determined, disturbing play built on entitlement and subliminal misogyny.
Carrie-Anne Ingrouille directs the production, establishing a remarkable pace that moves the action across the timeline seamlessly. Emma Houston and Tessa Redman join the writers in the cast, shifting between the characters’ mates and more allegorical roles. The result is an exciting brand of storytelling that encourages a thought-provoking and eye-opening conversation.
Though solid in its focus, the script leans towards virtue-signalling a little too much, ticking off one too many boxes. It’s trivial in the bigger picture, but it’s evident in the first third of the piece, which is is slightly less refined than the rest. Once the real plot properly kicks in, the play consolidates its aim.
The interactions between the two become increasingly more alarming. The writing is sly, pushing us to doubt every sentence, gaslighting us into thinking that perhaps Ela did Indeed give Oscar coded mixed messages. Like in life, you need to follow your gut. After all, it may not be all men, but it’s always a man. Even the ones you trust.
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