Genetic legacies form the substance of Involution, written by Rachel Welch and directed by Emily Agnew. There's a lot to like about this play - some really excellent performances, delivered with a lot of commitment, some strong writing and unobtrusive direction are the high points. A second act that sags a little toward the end under convoluted plot-twists is a slight issue, but this doesn't mar the overall impression of completeness.

Involution is set in a future world where everyone's genetic makeup is routinely scanned, for all the wrong reasons - a world in which genetic discrimination has taken the place of all the other excuses for prejudice. Unfortunately, the authorities, in league with a resurgent religious movement, do everything to highlight the problems, but then refuse to allow the development of the cloning that might lead to effective therapies.

That background is explored and developed while following rebel Cohen (the excellent Ben Murray-Watson), who has already had operations to treat a wasting disease, and who is trying to gain access to the treatment that the religious authority is denying him. Things get complicated when Cohen's old friend J (Alfie Talman) arrives to stay with him in Cohen's small flat. J is trying to get genetically certified, so that he can marry his coolly-calculating girlfriend Violet (Jane Lesley).

Unfortunately for Cohen, Violet works for the government. Unfortunately for J, there's a problem with his genetic analysis.

And then there's Talulah (Sara Pascoe), a total convert to the new religion, who believes that God will heal everything, and Cohen's sister, Dorcet (the wonderfully emotive Ursula Early) who is the repository of everyone's sympathy, and whose belated birthday present to Cohen is a robotic sex-toy called Gemma (Samantha Hopkins).

There are a lot of themes here. Do people really want to know their medical prospects? If they find out, what should they do? Above all, what exactly is it to be human? Are people really special, chosen by God, or robotic sex-toys plus a bit of intelligence? The excellent cast and a very good script hold things together well, and there's a strong scene in the second act when Cohen vents his anger in a way that tugs at every emotion.

Tying up all these complex topics is a big challenge and perhaps understandably, Involution is only partly successful here. Nevertheless, it is challenging and powerful without being too oppressive, despite the weighty themes. Rachel Welch isn't afraid to encourage laughter. The introduction of the robot, with her absolutely touching dedication, provides a sharp edge of comedy, as well as some futuristic moral barbs.

Cast Credits: (alpha order): Ursula Early - Dorcet. Samantha Hopkins - Gemma. Jane Lesley - Violet. Ben Murray-Watson - Cohen. Sara Pascoe - Talulah. Alfie Talman - J.

Company Credits: Writer - Rachel Welch. Director - Emily Agnew. Designer – Victoria Johnstone. Stage Manager – Carl Chandler. Production Manager - Dan Staniforth. Stage Manager - Carl Chandler. Lighting Designer – Dan Staniforth. Sound Designer – Carl Chandler. Music – Philip Guyler (www.philipguyler.com). Fight Director – Zara Plessard. Flyer / Programme Design - Jack Lightfoot (www.jacklightfoot.com). Photographer - Grant Triplon (www.gmtphotography.com). Artists - Phillipa Stanton, Clair Graubner. Creative Producer - Jane Lesley. Company – Mokita Productions (www.mokitaproductions.org).

END

(c) Michael Spring 2008

reviewed Tuesday 27 February 2008 / Pacific Playhouse

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com