Sus. ⭐️⭐️⭐️⭐️
“I could nail you any day of the week for a galaxy of crimes, sunshine.” SUS isn’t pulling any punches. Written by Barrie Keefe and directed by Sean Ponzini in this adaptation by Sidehammer Productions at the Hope St theatre, SUS is a terrifying look into the injustices in the justice system. It’s 1979 and the UK is in the midst of a Tory landslide on election night. Police powers have been increased through so-called ‘Sus’ (suspect under suspicion) laws, allowing stop and search procedures on the basis of someone looking suspicious. SUS is a story of power and prejudice at times where the class divide feels cavernous. Although it was written 45 years ago, in part, it feels like little has changed.

Setting the scene is a projection onto the back of the stage. Footage from the 1979 election is interspersed with live updates of the polls, and information of new police powers disproportionately affecting the black community. It launches you headlong into the performance and straight into the police station. Filing cabinets, chairs, and a table adorn the stage, giving the air of a slightly shabby local police haunt.

 Immediately, the audience are greeted by two white policemen placing their bets on the outcomes of the election. They have detained a black man on suspicion of murder, even if he doesn’t quite know it yet. Effective in their duo of brains and brawn, Thom Williamson as Karn and David J Williamson as Wilby make for a dynamic pair. As the detained Delroy (Rikki Dallas) is introduced, a damning picture of society is painted by all three.

Off to a slow start, SUS takes a while to find its feet. It is evident that unemployed, father-of-three Delroy isn’t a stranger to the police station, but the nuances of emotion of the three characters feel a little muddled in the beginning. As the performance unravels becoming darker and more violent in turn, the actors evolve, discussing class, racism, and politics. In particular, physical theatre is impressively done, and moments of twisted comedy are well-paced.

Keefe’s play isn’t a subtle one. From some initial, wary camaraderie between Delroy and the two policemen, Keefe’s script injects shockwaves as it plays out. However, there is some edge left to be desired in this gritty show as the three actors circle each other, sometimes with not enough and sometimes with surprising menace. Several moments feel lacking in the emotional depth required to fully drive home the message of inequality and disparity. Where parts of the performance shine, others are underdeveloped with the potential for more.

SUS is a performance tackling huge societal issues, leaving few stones unturned. Despite occasional flaws in delivery, this three-man show builds the tension in Hope Street Theatre, escalating the plot dramatically. “There aint much order to law” Delroy quips at one point, leaving a bad taste in the mouth and a poignant reminder of the times we live in now. SUS is an uncomfortable but ever important watch.   

Written by, Hannah Goldswain