Night Out At: Replica

Replica at Shakespeare North Playhouse on 6th April by the Imaginarium Young Theatre Company, directed by Tom Cain.

An immersive, electrifying, and at times uncomfortable exploration of humanity and reality. With elements of gothic, science fiction, and children’s adventure stories woven within, this short play is acted by an energized and very talented under-19 cast of 12 in the wonderful and intimate studio space within the Playhouse. (Subsequently, only the first names of actors can be used in this piece).

Directed by Tom Cain, a recent graduate of a Young Directors Course with the National Theatre, the play was an exploratory piece resulting from workshops with youth theatre groups across the country. The writing of the play by Titas Halder was the result of thought-provoking questions being asked of the groups.

Set on a school trip to a Pagan historical site and museum, we witness the unfolding of complicated relationships, incredible dream and movement sequences, and fabulous dream-like props. I was particularly struck by the ice creams, lamb, and blood. It truly was difficult at times to discern what was real and what wasn’t, which I guess is the whole point. The museum, where much of the play is set, is essentially a replica, which “just leads to the gift shop,” in the words of one of the characters.

From the very beginning, we see the dynamics of all characters without them saying a word in their little cliques and groups and then later discussing this mysterious new boy. Subsequently, flip-flopping between different times keeps the audience engaged. Alex, played by Gabe as the school bully/popular boy, was utterly compelling and later a mass of contradictions and insecurities.

Tom told The Creative Wire that they had a limit of using 20 light and sound cues. The result was a streamlined and thoughtful use of them. Most noteworthy was the sound of the beach, which was the perfect sound level, the red panic button, and the perfect choice of a musical medley, which included “Radioactive” by Imagine Dragons in a very arresting Pagan ritual scene, choreographed by Movement Director Beverley Edmunds. It gave me icy cold shivers, and sensations and connections were made that are still with me.

“Please verify that you are human,” the flyer publicizing the play states. How do we do that? The piece raises three major themes for me and does this very well.

Who says what is right, moral, true? How can we prove we are human and not merely animals living on instinct alone? Do we need a savior? A nod to that was shown by the undercurrent of Pagan worship and the 12 characters, hinting at the 12 disciples and the 12 tribes of Israel.

"If we were left to our own devices, we would kill each other," one of the characters voiced (yet she was still siding with the persecutors, hinting that the power of the majority is hard to break away from). Humanity has lost its way.

The slow eroding and prosecution of a person or a group of people. In the case of history, we look to the precursor of the Holocaust, for example, and the lead-up of 10 years, essentially separating Jewish people from the rest of society before the Nuremberg Laws came into effect, which essentially rubber-stamped this barbaric treatment.

Echoes and patterns of which are seen historically and today across minority groups. Raising the question, how on Earth is that being human? And just because it's the law doesn’t mean it's right. Laws change. These children are so susceptible to leaders and social influencers when they are still trying to find out who they are.

A very powerful and simple prop and image for me was a wheelie bin (they were hell-bent on throwing Sam in, literally and metaphorically) and a horrifying tableau of persecution. All the other pupils crowding around Sam, played captivatingly by Callum, being in turn vulnerable and defiant. The persecutors putting his beautiful art in the bin and essentially delighting in it. He knew their game and was not participating in their ludicrous questioning to prove he was human. They, in his words, simply “wanted to humiliate” him. It was deeply uncomfortable to watch, and rightly so.

I found this the most challenging theatre review to write so far precisely because it was so unsettling to watch, making me question so much. What is the true news? What are facts? What is reality? Can there be pure, unfiltered news or reality? Every news channel potentially has its own agenda to push, even the so-called neutral streams, which are subject to whatever government they are under at the time, to toe the line. Fear sells, and people living in fear are easier to manipulate.

Hope is not lost, though, as in the play, as I believe in life, goodness shines through, and the people that are brave enough to step out and be different and maintain their integrity, despite outside pressure, find each other.

Sam (interesting that he was called Sam, as it brings to mind Sam the time traveller from BBC’s “Life on Mars”). The Sam in this play was persecuted for being different and made out to be a monster or an alien (who in the end actually agreed he was, which destabilized the bullies) to justify cruel treatment is, by the end, seen as just a very sensitive young man who had prophetic dreams and has a strong sense of self and will stand up for himself where necessary. (There is no proof he is a replica. The dreams he has are likely metaphorical).

Cora, played by Grace, had always felt a bond, and it turns out they have both had the same dreams. The Biblical imagery has not been lost on me. The apple in Cory’s bag linking into Sam’s dream. Beautifully and sensitively acted and re-enacted. Echoing the Apple from the Tree of Knowledge, the temptation in the Garden of Eden. Both essentially made peace with the fact that they are the same, despite outward appearances. Together in a secret space, realistic sounds of the beach, and realistic walking along it, low lighting, minimal props, both wearing earthy brown colors. Huddled and sat holding hands at the end, sealing their destiny. That hope rippling out across the secret cove, the beach, and humanity.

The ultimate takeaway for me was that you are not a minority if you come together. I shed a tear as a fellow outsider. Rather sad the performance ended but forever changed. What great theatre is all about. It doesn’t answer questions but lays it all out for debate.