2.36 | Etcetera Theatre

2.36, which is directed by Jessie Millson and Guy Rapacioli and written, produced and performed by Elijah Lifton and Anoushka Cowan, is a comedy drama about the lives of two siblings and how their entire worlds change overnight as secrets are slowly revealed. The show's title of 2.36, whilst has significance as a turning point in time for the characters, is the average family size in the UK. The themes of the play revolve around this well and despite a detour to the destination, creates a staggeringly touching end.

The Carrington siblings, Josh (Lifton) and Keira (Cowan), are enjoying their last night in Luxembourg. Having taken the trip to reconnect with their ancestral roots, the last thing that siblings expected is for a series of secrets to threaten their familial bonds. Josh, who was born into this privileged and prominent family, finds it hard to fully relate to Keira, a later addition to the family although it's never explicitly stated when or how, resulting in a tense relationship from the get go. As news of their grandad's death reaches the two siblings, their picture perfect world comes crashing down leading to a night from hell. That is until 2.36am. 

The play pulls audiences in from the moment it starts, with a pulsating club scene and fast paced dialogue. As the flashbacks take audiences through the events of the night, the adrenaline pumps throughout keeping audiences guessing. The dialogue is slick, with a remarkable mix of dry humour and painful commentary about human psychology. The juxtaposition between nearly every element in the show makes for a fascinating and in-depth study of the show, as well as a moment of admiration for how well the writers know these characters.

However, the show begins to dissolve in terms of the story. Despite being a plot led story, the play prioritises the characters and their own internal struggles, which can alienate audiences who haven't spent enough time with the characters to connect or really care. The script is unclear and the events move too fast with vague time frames that often disregard logic. The show has potential and with a longer runtime will definitely emerge as an incredibly intelligent piece of theatre. However, with the current short run of 45 minutes, the play feels crammed with plenty of life changing and major events that become shoehorned into the show and causes them to lose momentum despite the actors strong performances. 

In what can only be described as an "Elijah Lifton" signature, Lifton's performance sits between an authentic representation and an animated version of the character, making Josh larger than life in all the right ways. Having seen Lifton in another role in another show quite a while ago and still being able to recollect the role clearly is a testament to the Lifton's talent. The character jumps from the page, and works his way through the audience, winning them over despite his infuriating obliviousness. Lifton's quieter moments of reflection and panic are sacred, holding the room in silence as his vulnerability is finally unearthed, yet it's the moments of physical comedy where Lifton really excels. 

Cowan's Keira is a fiery character whose head and heart are at war as she struggles to find the balance. A tough and intelligent young woman, Cowan's steadfast performance propels the show forwards as well as the narrative. Often the voice of reason, Cowan's own internal spiral as she's left coping with her all of her family and partner's problems makes for a satisfying watch. Cowan's reactions provide much of the show's laughter (rivalled by Lifton's own comedic timing),and does her credit. 

Co-directors Guy Rapacioli and Jessie Millson's use of movement helps the piece feel more alive; most noticeably during the drink scene and the club dance floor. Rapacioli and Millson have found a rhythm in the writing that creates wonderful and dynamic scenes. Belle Bao's sound design provides a constant hum of background noise whilst the siblings are out on holiday, which helps really place the actors in the moment. A canvas painted backdrop acts as set piece, and despite the small size, does a great job at conveying a quick impression of Luxembourg. 

2.36 is a charming show that has potential and a strong team attached to it, yet at present feels more like a work in development that deserves a longer life.

★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Kayden Lucas