Flesh & Bone. The basic composites of every living human being on this planet. If you rip the skin and personality away to reveal the raw foundations, we are all the same. So why do we judge? Why as humans do we have this innate desire to push people into boxes or into societal ranks? Why do we deem certain people above or beneath us... better or worse? ‘Flesh & Bone’ at the SOHO Theatre is here in unapologetic ferocity to unearth the brutal truth of working class existence.
Terrence lives on a council estate with his brother Reiss, their Grandfather and Terry’s girlfriend Kelly; whilst below them lives Jamal, the local drug dealer. The hair raising 80minute play rushes through their lives, the societal stereotypes they are inherently forced to maintain and their deep desire for something greater. The writing is unbridled, visceral and evocative. Elliot Warren dances between brash colloquial vocabulary and poetic Shakespearean beauty. What hits the most is that his writing is honest and real. You sit there and feel sick knowing at some point or another you’ve had these feelings about this “class” of people you’ve assumed you’re better than, but why? Because you were more fortunate to be given more opportunities? He highlights the damaging concept of privilege without having to hammer it home, it naturally falls over you, and you sit there and relate to it guilt ridden. He brings the humour and heartache with wonderful nuance, pace changes and articulation are wonderfully crafted by the company of five. This is kept in check by Warren and Brady having directed it themselves. It is fluid, explosive and still: not an easy combination to master, but master it they do especially Warren who manages to nail acting, writing and directing the entire piece.
