Ticking, Trafalgar Studios, theatre review: Let's just get this execution on the road
In an unnamed Eastern country, Tom Hughes's twitchy, selfish, privileged Simon is awaiting execution for the alleged murder of a prostitute
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Just a Minute famously requires contestants to speak on a stipulated subject without hesitation, deviation, or repetition for the titular allotted length. In his debut stage piece, Ticking, appears Paul Andrew Williams, who scored a deserved success with The Eichmann Show on TV, is playing a blinder with a game that's a piquant twist on this venerable format. You take a promising dramatic situation that has an inbuilt reason for lasting just an hour and then you systematically evacuate it of human depth, narrative plausibility and an honourable reason to exist – with the effect that excellent actors (in this case Niamh Cusack, Anthony Head, Tom Hughes) struggle to buoy up material manifestly beneath them.
In an unnamed Eastern country, Tom Hughes's twitchy, selfish, privileged Simon is awaiting execution for the alleged murder of a prostitute. An appeal has just been refused, despite an international campaign for his release. As a desirable son, Simon makes Sebastian Flyte look as dear as Mitch in Streetcar. The supposed interest of the piece is Simon's choosing to spend his precious last hour playing obnoxious mind-games with his evidently stricken parents. Does he leave them wth the legacy of believing him innocent or guilty. Its a moot point as to which is the more pointlessly manipulative: the protagonist or the play itself. Hey, gang, let's get this execution on the road.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments