In a world where social media lies at the very fingertips of society and emojis, profile pictures and Instagram likes are the language of the younger generations, Enda Walsh’s Chatroom, performed by SLAM. Theatre serves as a poignant reminder of how dark the deep web can really get.
Set within several online chatrooms, the play, which premiered as part of the National Theatre’s Connections season in 2005, explores the difficulties teenager face as they grow up and the internet’s place on that journey. Performed by a cast of 6, SLAM. tell the story of a group of bored teenagers who, after picking apart JK Rowling and Britney Spears in obscure lighthearted chatrooms, turn to more serious matters. They talk with Jim, a suicidal teen still reeling from his father’s abandonment who finds comfort in talking to people his own age. While some decide to lend an ear to his problems, others, who are looking for a cause, a means of gaining attention, opportunistically use Jim’s unstable mentality to their advantage.
To submerge us in the online world, video projections are used, designed by Matt Whale that are simple, relevant and well executed. The ensemble begins with an interesting physical language, noticeably supervised by movement director, Shaun Mendum and there is experimentation with contact improvisation and fluid lifts. Despite having a movement specialist, however, this sadly does not continue into the main body of the play and is perhaps the reason the staging often feels repetitive and predictable. Whilst there are snippets during scene changes, this isn’t well connected to the story and perhaps would have been better utilised within the actual scenes.
The text itself is witty and modern and often the cast are drowned out by laughter, which although creates an enjoyable atmosphere, frequently renders the actors inaudible, but this is an intuition that comes with practice. The characters that are brought to life can often seem like a cliché, a parody of suburban teenage life, as some of the adolescent personalities felt obvious, but whether this is at the fault of the actors or the script is uncertain. Despite this, there are some strong performances including the egotistical ringleader William, played by Mark Teale, who has an immediate sinister strength, Tania Van Amse as Laura is charmingly honest and totally believable and Nick Pearce’s Jim has a lovely awkwardness that leaves us feeling empathetic and uplifted.
This production, despite its faults, is an honest, relevant story told by a cast of tenacious young people. As a frank look at teenage suicide, it perhaps preaches this issue as oppose to subtly questioning its audience, but that is perhaps a critique more of the play than of this particular show. Although this production has repetitive qualities and typical characterisations that won’t be the hot topic of conversation in any chatrooms soon, it has potential and the sensitive issues were dealt with compassion and care.
SOPHIE HUGGINS
★★★☆☆
The Open Door 