There can be no doubt that we live in disturbed and troubling times. The landscape for young people has never been more challenging and aggressive. The quest for affirmation and acceptance leaves little room for any perception of failure. Is it any real surprise that kids will sometimes look for alternatives; an escape route from the expectation and pressure of modern life? This new play by Bram Davidovich explores these themes and many others, as two youths find their way in the life they have chosen. Jacko is streetwise and world-weary for someone so young. Kelly has just broken free of the parental control suffocating her with kindness. She is now the sorcerer’s apprentice as Jacko shows her the ways of a very different world.
Kelly (Matilda Childs) has a comfortable family home with well-meaning but overbearing parents. However, the regimentation of school and regular medication becomes a monotonous daily grind. Her inner demons dictate that she has to make a run for it. But what exactly is 'it'? Pure unadulterated freedom is the answer, and the sense she answers to no one but herself. Kelly soon meets Jacko (Melker Nilsson), a homeless young man who lives on his wits. His reasons for becoming a runaway are in total contrast to Kelly. Jacko was driven from his home by too little kindness and understanding. They gradually realise how much common ground is shared and have a similar emotional trajectory. A peculiar relationship develops between the pair, but can they survive the shifting sands of street life with their sanity intact?
The proximity of the Hope Theatre to Upper Street in Islington provides its own natural soundtrack as an occasional police siren hurtles past. This tale of life on the street has an uncomfortable realism; society's non-compliant minority living in the twilight world between life and mere existence. A thumping punk soundtrack links scenes to create an even more authentically urban vibe. Matilda Childs and Melker Nilsson are excellent in their respective roles, breathing life into characters damaged by the past. The script and direction of the play is also solid, bright and engaging. If you’re sensing a ‘but’ here it comes; it’s the running time of the play. For what is essentially a two-hander 75 minutes is far too long, particularly as the plot doesn’t travel beyond the basic premise. It feels like the narrative is looping and cornering the same point. Nevertheless, Rat King is a stylish and thoughtful take on how runaways turn into rough sleepers; it just needs some ruthless editing.Review by Brian Penn
Rating: ★★★
Seat: Unallocated | Price of Ticket: £15/£12 concessions
