Directed by Paul Anthoney
Presented by Controlled Chaos Theatre Company
Featuring Carmella Brown, Charlie Maguire, and Emilia Stawicki
15 – 19 October, 2019
Tess and Liam are flatmates and best friends, united in queerplatonic solidarity. As the planet hurtles towards destruction, they’re determined to get out alive – their ticket, an alien- and British government-funded programme looking for fertile heterosexual couples willing to procreate amongst aliens, for science. For asexual Tess and bisexual Liam (whose boyfriend is en route to an apocalyptic hedonism cult in Wales), this seems doable; all they have to do is bluff through the interview process and then they’ll figure it out once they’re off-world. Unfortunately, while they concentrate on the immediate plays before them, the powers that be keep shifting the goalposts. How much of their identities are they willing to sacrifice, and is it even possible to draw any lines in the sand of a nuclear wasteland?
The world, we gather, is rapidly disintegrating due to international nuclear strikes, the radiation from which has also rendered large swathes of humanity infertile. While this is a reliable trope (Scott gets the Handmaid’s Tale references out of the way early) and provides decent excuses for several plot points, not attributing the apocalypse even in part to climate change seems something of a missed opportunity in the light of current events. However, the socio-political setting is not the point of this play; Mission Creep shines in its nihilistic humour and its commentary on friendships and the queer experience.
Emilia Stawicki and Charlie Maguire as Tess and Liam are dynamic and relatable, oozing platonic chemistry and that quintessentially millennial anxiety-fueled humour. Stawicki in particular is hilarious as she dials facial expressiveness and physical humour up to 11, making it all the more devastating when emotional trauma shocks her into silence and she retreats into herself. Maguire plays more of the (not-)straight guy to her exaggerated comedy, which is a nice reversal of the usual gender roles, and ties in well with their American-British cultural differences. His reaction to the biphobic barbs thrown about throughout the play is perfectly done – a wince, gritted teeth, and smiles that don’t reach the eyes.
Carmella Brown as Mary – the face of the unnamed company overseeing the Earth side of the interstellar breeding programme – commands the small space of the White Bear Theatre whenever she enters it, stalking the stage like a corporate tiger with red blazer and crisp Scottish accent. It is a pleasure to see her apparent inhumanity built up and then deconstructed throughout the hour’s run time, creating a compelling and complex (if utterly unlikable) antagonist.
Staging, lighting, and sound effects are minimal but effective when deployed, and Paul Anthoney’s deft direction ensures that the space is well-utilised, all movement worked such that audience on both sides of the stage have clear views, yet it still feels natural. It is easy for any low-budget pub theatre to stray into tackiness, and this goes doubly for on-stage sci-fi. However, the standout talent here lies with the playwright, Bee Scott, for embracing two challenging genres (sci-fi and queer theatre) and pulling them off with humour and humanity. What’s more, you don’t need to be a Star Trek fan or gay yourself in order to enjoy Mission Creep – it’s low on technobabble and LGBTQI jargon but high on observational humour, meaning it should be enjoyable by both newcomers to the genre and veterans. I feel lucky to have seen the premier performance of this piece of new theatre. The one piece of constructive criticism I would offer is that the third act could do with some tightening, as the dramatic tension was lost when certain secrets were revealed, and without this through-thread the plot lost its momentum and instead became more of just a series of escalating events. However, I am sure this is something which could easily be reworked for future productions.
Mission Creep is playing at The White Bear Theatre until this Saturday – make sure you’re on that spaceship before it sails!
Previous review: Gutted by Sharon Byrne @ Churchill Studio, Bromley