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Review: Cuttings, at The Hope Theatre

13 June, 2019 — By ERIN COBBY

Cuttings is at The Hope Theatre

THE Hope Theatre continues to impress with its varied, spectacular season.

This time, the play follows what first comes across as a slightly dull storyline. YouTuber-turned-actor Arthur Moses wins an Olivier, yet drunkenly offends with his profanity-laced acceptance speech.

The action then follows his PR team as they attempt to pick up the pieces and deal with the media fall-out.

Ollie George Clark has managed to turn this seemingly shallow story arc into a diverse arena in which to discuss social and racial inequality, questioning the role of the press and the fickle nature of fame.

The play is both exuberant and satirical, peppered with lyrical gems such as: “Lucifer won’t ascend on a flaming chariot, he’ll be smuggled in on a press release.”

Under Rob Ellis’s direction, the play moves in real time, leading up to the point of Arthur’s arrival. This constant looming visit and the perpetual ringing and buzzing of phones lend the play a sense of urgency, with the three actresses each moving franticly around the stage, their seriousness clashing beautifully with the pink, sparkly and neon-covered PR office created by Caitlin Abbott.

All three women, boss Gracelyn (Joan Potter), intern Danica (Maisie Preston) and rising star Ruchi (Natasha Patel) play their roles flawlessly, each representing the compromises required in the pursuit of a successful career in PR. Their energy is resolute, and in their hands the 75-minute run flies by, especially when considering the naturalistic style and limited scope of the play.

Unwaveringly unapologetic, Cuttings is a fantastically timely play, highlighting the farcical nature of our media-obsessed society and proving once again that the devil truly is in the detail.

Until June 22
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