2018 is both a fascinating and a terrifying time to be alive – and particularly to be young. Climate change, Brexit, Trump, knife crime, terrorism, the threat of nuclear war: all these and more have brought us to a place where it’s far easier, and feels a lot more feasible, to fear the worst for our future than to hope for the best.
None of the above are mentioned by name in This Noise’s No One is Coming To Save You, but the atmosphere of dread that accompanies them is very much present. The play, written by Nathan Ellis and directed by Charlotte Fraser, is about a young man and woman, each of whom finds themselves alone with their thoughts over the course of one long sleepless night. She’s transfixed by a half empty (or half full?) glass of water on the table, and stubbornly ignoring her ringing phone. He’s watching late night TV with the sound off, while his girlfriend and baby daughter sleep in the next room. Their stories are separate but gradually intertwine, as each reaches out desperately for someone – anyone – to reassure them it will all be okay.
The play is billed as an experimental duologue, and it certainly lives up to that description. The non-linear narrative jumps about in time as the two characters lose themselves in memories, with the audience never totally sure which ones are real and which imagined. While this means it’s at times difficult to pin down where in the timeline we are or what exactly is happening, the writing is so beautifully evocative, and the performances from Agatha Elwes and Rudolphe Mdlongwa so engaging, that we have no trouble at all picturing the scene or sensing the building atmosphere of doom that surrounds the two characters. We don’t know why they’re both awake on this particular night, but from the start there’s the feeling that something terrible might happen – whether it does or not I can’t say, but the threat is credible enough to keep us constantly on edge. (It’s worth noting also that the script conjures some rather disturbing images, particularly of physical injuries, which some audience members may find distressing.)
And yet for all that, No One is Coming To Save You is often surprisingly funny, and there are several laugh out loud moments, which help to restore our faith that all may not yet be quite lost. The play’s conclusion, also, feels cautiously optimistic, and there’s the suggestion that though life may not necessarily be all we’d hoped for, we’re all on the same uncertain road and we don’t necessarily have to travel it alone.
No One is Coming To Save You is quite an abstract piece, which leaves much open to interpretation. As such, it may not be everyone’s cup of tea – but what it lacks in terms of plot, it more than makes up for in its portrayal of the general mood in a world where it often feels things will never get better. An interesting and thought-provoking show for the millennial generation.
Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it…