Thursday night at the Tobacco Factory brings us another ingenious piece of new writing, this time from Mark Breckon. 'The Radicals' is the second of Mark's plays to be showcased at the Tobacco Factory; his previous play, 'The Camp', was performed by Bristol's Show of Strength theatre company and was placed in the Independent's list of Top Ten plays outside of London.

'The Radicals' is a complex drama about five students sharing a house in 1986 and who were much caught up in the politics of the time. They meet up again in the wake of September 11th and, discovering how things have changed, are forced to reassess their political views.

In rehearsed readings, very little is used in the way of scenery, props and costume. In this interpretation, the set is described at the beginning by the character of Keith, and as props are supposed to be used or actions of importance are staged, the actors state what they have just picked up or the action which has occurred, for example, "Charlie picks up a guitar", or "they have a fight". Initially, I thought this might interfere with and break the continuity, but it is incredibly effective, working with the style of the script and the mood of the piece.

Setting the scene, it is 1986, Margaret Thatcher is "on the throne" and political unrest hangs over Libya and the U.S.A. We are introduced to the play's five characters, Keith (Matthew Greenfield),  Sarah (Rebecca Smart), Charlie (Howard Coggins), Joe (Chris Bianchi) and Alison (Jennifer Tubini). The witty writing is quick to draw the audience into the scene and situation, making them aware that issues of class, the war, relationships and power are going to be of importance. References to events, publications, songs and television programmes of the time are comical and put the piece into context, as we see the young idealists try to reconcile their personal beliefs and convictions with the political mood of the time.

During Act I, the group of friends make a pact to return to the flat on October 12th 2001, the date of Keith's 40th birthday, and each character records a statement on film about what and whom they are going to become by that time. Act II features a time shift and is set in the same room fifteen years later. Decisions made in the 80's have taken effect, the repercussions of which still haunt the characters. Hidden truths are revealed and questions about status are raised. We learn that only two characters have stayed true to the statements that they made in 1986, and we discover that Sarah, who had wished in '86 that she would still be alive and happy and for there to be a cure for cancer and aids by 2001, has been mentally ill and is herself now suffering from cancer. Her illness does appear to free her though, allowing her to live in the present and as she wants to. What is so very satisfying is that every seed planted comes to fruition.

It is impossible to try and analyse too many moments in the script - it is a play written to be performed and each actor, I feel, does justice to their character. Each one is so individual but when put together they work beautifully. Genius word-play, sensitive direction, an impeccably devised plot and flawless acting all add to the perfection of this piece.   

The Tick List

Story 

Writing/Language


Cast 

Direction
 

Overall

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