Boiling Frogs

The characters discuss the reasons for their arrests and consider whether their protests are futile or noble. In this way Bloomer forces the audience to question the relationship between civilian and state, but as the play progresses and he reveals more about the characters, it becomes increasingly difficult to form an alliance with any of the men onstage. On the whole, this works effectively, making for an unpredictable and intriguing play.

In its early stages, Alex Hassell's production makes the audience an active part of the process. Some audience members are invited to assist in the construction of the set and the props, whilst the actors casually chat to those entering the performance arena. Once the production gets underway, these interactive elements are rather left behind, though the nature of the space ensures a continued degree of intimacy between cast and audience.

The interaction between the three main characters is shaky and awkward to begin with but the actors soon relax into their roles and the pacing picks up accordingly. The performances of Tristan Beint (playing Mark on this occasion) and Paul Sharma (playing George) are particularly strong and any initial hesitation may be down to the fact that, as with previous productions by The Factory, the actors switch roles from night to night.

The production design is particulaly striking. The pressurised environment of the cell is successfully conveyed through the use of fluorescent lights and white surfaces decorated by the stencil-work of graffiti artist, Pochoir. The space physically shrinks throughout the production; the fluorescent corner lights rattle closer together via a system of pulleys and the lights above descend. This has the effect of maximising the tension and clasutrophobia of the piece.

Bloomer's satirical play is fairly potent but there are times where the writing feels secondary; ultimately it's Hassell's inventive staging that has the greater impact.

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