Mr. Stevens | Arches Lane Theatre

New dark comedy Mr. Stevens marks the debut play by Isabella Garland. Directed by Aaron Thakar, the play's intricate web of lies, secrets and betrayal unfolds, resulting in a comedic yet thought provoking play that raises larger questions about society. 

The play takes place entirely at the funeral of Mark Stevens, a teacher, husband and father. A series of characters and the unfolding complications that they cause creates a rather messy spiral that slowly drags them all in; whilst they mourn Mr. Stevens. Rose, his grieving widow, and their teenaged son Leo, Mr. Hobbs, a fellow teacher and Mark's best mate, and his wife Mrs. Hobbs, an ex-colleague and Several of Mr. Stevens's students, including Lily, Arlo and Julia. When Lily admits a dark secret, the stakes of the funeral become dire, and place each of the characters in an impossible situation to navigate the consequences. 

Garland's script provides the show with a solid foundation, with clever dialogues and an intelligent underlying theme that leaves audiences reeling as well as the characters. Garland's script not only explores the moral implications of a teacher-student relationship, but how society has been brainwashed into absolving those involved of any blame. These discussions are handled in every manner, an admirable and enormous task that requires immense sensitivity and sincerity that Garland has provided.

Garland's writing paints every character in shades of grey, carefully keeping the audience away from forming any biased opinions. The characters themselves are fascinating, authentic, pitiable and respectable, but never likable; a masterful decision that really places the audience in the pursuit of justice and truth. Lily, who becomes the show's protagonist, makes it particularly hard to root for as she's slowly becoming more cruel and paranoid as the play goes on, which does result in one of the most painful yet brilliant plot twists in a play. The ripple effect of each character's hesitations and beliefs, wash over the other characters, and the resulting effect is a myriad of complexities that makes for a really stimulating play. 

The intensity of the play is ramped up with every new complication or truth revealed, making the play an 'edge of your seat' watch. However, the play falters in terms of pacing, which undermines the intensity with filler characters and moments. Whilst the inclusion of an additional three school students does help provide larger context to Lily's behaviour, the characters and their own immature antics take up too much time that could have otherwise been devoted to letting the bigger plotlines resonate more. With a runtime of 80 minutes and an already large primary cast, the school kids don't add much and frustratingly actually take away from the play. This also causes other relationships to feel undeveloped due to lack of time. Timelines can also feel a little unclear in certain moments, especially with how abruptly the final scene plays out. However this grievances feel minor, and are overshadowed by the brilliance of the script and message. 

The final plot twist (no spoilers), is not only a sharp shock to the characters but to the audience who end up questioning everything they've thought about society, and about themselves. Garland's script switches sides and allegiances at whiplash pacing, and final blow is truly remarkable and provides the play with credibility and sets it a high standard. 

Garland as Lily is an excellent performer as she brings out her vulnerability and her fierce naivety in a mature portrayal of the immature teenager. Garland's emotional outbursts, along with her own manipulative games to feel a sense of control, are calculated and really do help create an authentic portrayal. Ieuan Siôn Bradley is adorable as Arlo, with a rosy cheeked innocence and sweet nature that feels out of place in this dark play. Bradley's own accent and charm provides warmth to the play, and the slow depleting of his faith is heartbreaking to watch.  

Louise Nicholls as Mrs. Hobbs is unexpectedly the most fascinating of the characters. Nicholls' dynamic presence, animated expression and awkward dialogues have the audiences gasping with laughter in the first half. Nicholls contrasts this with a sensitive approach to a distressful situation, almost becoming a beacon of hope. Caitlin Florence-Rose as Rose does a wonderful job at translating an indescribable grief on stage, and her moments of unexpected joy and steely determination elevate the character. However, Florence-Rose, although the costume, make up and mannerisms captures the sorrow well, her young appearance does make it hard to be fully convinced as a middle aged woman. 

Daniel Metcalfe as Leo has limited stage time yet makes it count with a layered and guarded performance that slowly unravels with every scene. Metcalfe's emotional turmoil as he grapples alone with a huge secret, both on an internal and external level is portrayed well. Jowan Jacobs as Mr. Hobbs does well to denote the undying loyalty and induces an unfriendly atmosphere well, but is restricted with very little stage time to develop. Julia-Hetta Johnson as Julia is another minor character but makes herself a memorable one with a strong performance.

The play is set in the small back garden of the funeral service; although specific details of the location are avoided. Characters slip off stage to attend the actual service, which audience can hear via voiceovers (Frankie Jean and Maxwell Darnell provide this). Wooden tables and benches are placed on the small space, along with a brick wall littered with common signs. Beth Scott provides sound and tech design, which is used well to engulf audiences into Rose and Lily's moments of emotional outbursts and subsequent panic attacks. A shout to Scott who had to combat a last minute non-responsive lighting design, seamlessly. 

Mr. Stevens is a dark comedy that rings as a crucial reminder of how bleak and brainwashed society is, and the importance of staying true to one's self. The play takes on an authentic tone; rendering it even more effective as it creeps on the audience.

★★★★☆ (4*)

Gifted tickets in return for an honest review