Amar Chadha-Patel (A.K.) in Foal. Photo by Steve Gregson

Written by Charli for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review. All views are our own

Foal 90-minute one-hander by playwright Titas Halder, is told from the perspective of A.K., who is played by the masterful and mesmerising Amar Chadha-Patel. It follows three different stages of his life, from childhood to his mid-30s, and depicts his experience growing up on a small island (something that resembles that of the Isle of Wight) before moving to the city.

As A.K. recalls different experiences from throughout his life, we see him grappling with his relationship to masculinity, something that is portrayed through his ‘second self’: the part of him that is more tender and in touch with his emotions. This felt like an effective way of portraying the way the emotions would bubble up, but so often men can push them away. We also witness how A.K. copes with both the casual and targeted encounters with racism - something that felt particularly poignant when watching the show during election week. These observations on British life are astute, and the lyrical nature of the script made them resonate even stronger.

The small black box of the Finborough Theatre made this singular monologue feel incredibly intimate. Chadha-Patel only gets a few seconds to breathe in between act transitions. Nonetheless, his energy never wavers and he maintains the level of emotional range that is required for a show such as this, and it only intensifies as it develops. I also felt his stage-presence was magnetic, completely filling the room as he bounded around the stage, Annie Kershaw’s direction showing the uncomfortable inner turmoil of A.K.’s mind. Chadha-Patel also had excellent comedic timings with the quips sprinkled throughout; he often made eye contact with the audience, making him compelling to watch.

I’ve found it’s a rare thing for an actor to get slightly upstage by the awe-inspiring lighting design, but Rajiv Pattani captured Foal’s dreamy essence of memory and mood in every scene. With bold contrasting colours, shadows adding dimension to the small space, and an orb that lifted and lowered almost like another character on stage.

Cara Evans’ set design was also simple but incredibly effective, with lots of hidden pockets for props you didn’t realise had been there all along, which really brought the play to life. There was also a microphone that was used when characters with authority or power over A.K. would speak, but I didn’t think that was entirely necessary for this show.

Overall, Foal’s rhythmic quality carries you through the whole 90-minutes. It’s a play that is incredibly moving and important, and is sure to have a strong future.

Foal is playing at the Finborough Theatre until 30th May.

★ ★ ★ ★

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