Written by Becky K for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

To The Tooth Theatre presents its satirical fringe show, The Great British Lock-In at The Drayton Arms in London, which is running until 22nd November. Written by Oscar Brudenall-Jones, the one-act show is a commentary on British identity, yet it falls short in the impact of its storytelling.

Set in a dreary pub called The Aldershot Arms, the locals gather together in support of their local MP Timothy (Scott Slocombe), in his push to make the constituency of Aldershot North an independent state. Introducing farcical new laws based on British identity and its current fears of border security, the people of Aldershot North think they have it so good. When Channel 4 journalist Jenny (Natasha Culzac) pays a visit and begins to ask difficult questions, Timothy’s grip on his constituents becomes looser, dark secrets begin to reveal and the story takes a sinister turn.

The ensemble cast greets the audience before the show in its immersive pub setting, designed by Emily King. Juliet Prew and Sonja Doubleday, in particular, do a great job of setting the tone of the play, making comical small talk with the audience and bringing them up to speed on the current affairs of Aldershot North.

However, the whole narrative was a little clumsy. Director Elham Ehsas struggles with a concept of two halves; one being the political comedy surrounding a rural town that pokes fun at racist views on immigration and nationalism, and the other being a kitchen-sink drama based around a missing person in the area. As soon as Jenny begins to press Timothy about the missing person, the genuine satirical commentary on the state of public opinion around immigration is forgotten, and the narrative’s tone and objective becomes somewhat confused.

Personally, I think it would have been more cohesive to keep the concept as a political dark comedy that explores how Timothy is able to shape the opinions of the people of Aldershot North. It’s hinted throughout how Timothy is able to refute challenges against him by presenting conspiracy theories, yet the text never provides an example any.

Likewise, with all of the characters being present on stage for the majority of the show, there is a missed opportunity to delve into the characters of the locals, where they come off as stereotypical racists that lack nuance. The show almost delves into farce at some points. There is a point to be made here by the play, but the dramatic final third somewhat trivialises this since the play can’t decide what its primary purpose is. Is it a comical deconstruction of populism, or a dramatic critique of contemporary politics? The show attempts both, but unfortunately falls short.

at Drayton Arms Theatre until 22 November

★ ★

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