Review: EUCHARIST, Riverside Studios

At what point do we cross the line that dictates what is ‘dystopian’ and what is reality? Then what if we take the heart of what makes us human and capitalise it? No, seriously. What if we start taking human hearts and profiting from them? This is the very core of Talking Bird Productions and Springbok Productions’s newest revival of their play Eucharist.

By definition, the word Eucharist means to receive the body of Christ through the acceptance of the blessed bread. To receive the body. 

Eucharist tells of Clara, a young woman who grew up dreaming of being a TED-Talk host and CEO. After the sudden death of her mother, Clara ends up alone, homeless, and with only the tote bag on her shoulder to her name. That’s when The Eucharist Project comes in. A newly developed medical procedure that takes the heart of a ‘Donor’ and swaps it with that of the very wealthy ‘Recipient’, providing financial gain to those who need it. 

When the project has a data leak and the information of the Donors are released, Ben finds Clara and pays her to share her story in a series of interviews. Through the process, Ben and Clara grow closer until the new heart in Clara’s chest begins to beat a little differently. That is until the truth, as it always does, comes out.

There are not enough words one could type to fully describe the layers of complexity in Eucharist. It is a concept and plot that is fresh, original, and plays on religious themes in a tasteful, yet dystopian, way. Written and performed by Tobias Abbott and Saskia Mollard (Ben and Clare, respectively), the play will leave you clutching your heart and being thankful for breathing. It begs the question: how far is someone willing to go for money?

It is twisted, it is disturbing, but it is mostly alarmingly realistic. With the rise of AI and experimental medical procedures, Eucharist reminds audiences that this world is not far from the reality of our own. The writing from Abbott and Mollard is beautifully tragic, filled with moments that give you a love-hate relationship with the characters, and leaves you heartbroken until the bitter end. The duo have created a stellar universe and working-relationship: it truly shows in this piece. 

Director Joshua Maughan keeps it simple. Traverse staging, a platform with a red carpet, and two light-up cubes. That is all it takes. Truly powerful theatre should not fully rely on expensive sets or gimmicks. The true beauty and power comes from the text, from the way the actors and their words make you feel, and how they perform those crucial moments. Maughan’s direction is a prime example of that. He knows how to get the best out of his cast, how to hold space for the right moments. It pairs with the writing from Abbott and Mollard perfectly - a partnership that should be continued. 

Mollard’s performance of Clara is stunningly aberrant. You will love her, hate her, and break your own heart over her again and again. Her ability to pull at her own heartstrings and bleed herself dry for the audience is both captivating and warped. Audiences are left wanting to protect Clara, but also keep her at an arm’s length. Mollard’s naturalistic acting style is a gift, and draws audiences in before catching them in her claws. 

Ben is almost bittersweetly the opposite thanks to Abbott’s portrayal. You want to love him, you want Ben to be a good human and mean what he says, and, for a moment, you think he might. Abbott’s variations in complexity through Ben make him human: emotionally broken, but still human. He compliments Mollard wonderfully, and their chemistry is raw and real.

Eucharist will have you begging for a multiple season TV show development that you can rewatch and rewatch until your eyes run dry. You won’t know who to root for, let alone what to think. This show is truly worthy of a longer, more developed, run. 

Eucharist plays until 28 October at Riverside Studios

Main Photo Credit: Malcolm Griffiths Photography