Theater Review Lives Unrelated to Most People
How to survive an apocalypse
CANADIAN playwright Jordan Hall leans heavily on climate change in her writing, and How to Survive an Apocalypse is no different, turning to Survivalism – the skills and demands of individuals preparing for impending disasters.
It should be a timely drama with Covid ravaging much of the planet, fuel shortages and a crucial global climate change summit just a month away, but sadly the premise is just a lens to watch a series. young middle-class professionals and their relationship needs.
Jen, a powerful and self-reliant magazine editor, faces the overhaul of her creation from a publication aimed at young aspiring professionals to one engaging in survival skills. Her husband Tim, a failed video game creator who lives his life through digital simulations, can’t compete with the square-chinned, broad-shouldered, arrogant alpha male brought in as a consultant to oversee the transformation.
A camping trip to the wilds of Canada with these three and one of Jen’s recently separated girlfriends turns out to be the match that ignites passions and animosities, but instead of Deliverance, we are presented with an episode. too long and flat from Friends.
The Four Aspiring Yuppies (if that acronym still has any validity) don’t develop much beyond the stereotypical caricatures forced to fight, and the achievements of the final scene aren’t enough to save them.
The quick jokes and social exchanges are predictable, and the philosophy of life added in mundane chunks at the end is heavy. Using a post-apocalyptic bunker existence as a metaphor for their approach to relationships is overused.
The acting isn’t bad but he’s disappointed with the dialogue that rarely exceeds the level of an ad hoc American sitcom, and the lives depicted are irrelevant to most people: house cocktails, espressos, pampering. green tea face and hollandaise sauce aren’t the glue that holds most relationships together.
Kristin Atherton’s dynamic and ambitious writer Jen, whose childhood dreams have strayed, is the passion and rhythm behind the show, but at times the shrill attitude that hides her life’s disappointments is warrior and director Jimmy There is little that Walters can do to give this drama an edge.
Until October 23, ticket office: finboroughtheatre.co.uk