Facebook meets the social worker

Chatroom/Citizenship, written by Enda Walsh and Mark Ravenhill respectively, are two short plays exploring a variety of teenage issues. Performed at the National Theatre on London’s South Bank, the theatre shows over 18 plays per year ranging from classics to new plays.
With a view to understanding teen culture Walsh gives us Chatroom: six mid-teens in cyberspace, “middle class, of varying wealth, in and around Chiswick”. What starts off as a snappy, witty, laugh-a-minute exchange of ideas between members of the chatroom on teen culture turns into a depraved view at the sourest side of adolescence. That does not detract in any way from the profoundness and the issues explored and the messages which the play seeks to portray.

The play opens with a musical extract of the ‘Oompa-Lumpa’ song from the much loved Willy Wonka and the Chocolate Factory (1971) and a heated, but highly amusing, discussion about said film ensues, as well as banter concerning “Harry fucking Potter” and Britney Spears. The opening may lead us to believe we were in for an evening of no more than a few laughs at the youth of today.
Introduce Jim, suicidal, troubled and depressed following the flight of his father 10 years earlier. The other teenagers quickly discover the cause they have been looking for: to be there for Jim. The sordidness quickly escalates until the play deals with manipulation and even the possibility of public suicide.

Not only exploring some major issues which a lot of the (predominantly teenage) audience may be battling in their own heads such as bullying and teen angst, the play offers viewpoint on other ideas such as the media itself being a tool of manipulation, the safety and authenticity of the internet and religion.

Praise must be given for the truly spectacular performance of Jim, carried out by Steven Webb. Webb portrays the nervy, quirky, misfit with a ‘thing’ for penguins and cowboys flawlessly and with hilarity. He is so convincing that one finds oneself endeared to him and his eccentric mannerisms. George Rainsford, playing the part of William, gives a comical if not slightly boisterous performance but keeps the audience laughing with his alternate ending for Willy Wonka; “they make shit out of him”. All the actors showed talent and conviction in their roles right up until the closing scene, probably one of the most emotive and happy endings I have experienced in a stage production which resumes the initial mood of the play.

Citizenship, also a foray into the lives of contemporary teenagers, follows 16-year-old Tom and his quest to find his feet with regards to his sexuality. The opening scene of Tom having his ear pierced by Amy (after, of course, the mandatory four neurofen and vodka that precedes any do-it-yourself ear piercing) immediately reflects the setting of the play, which contrasts heavily to the middle-class backdrop of Chatroom. The play is set in a rather “ghetto” London comprehensive and one instantly recognises the according uniform of tracksuit bottoms, caps and baggy t-shirts.

Tom is highly confused about his sexual orientation. This confusion is brought about by a recurring dream in which he is unaware of the gender of the person he is kissing. Tom seeks advice in differing ways from his highly strung and stressed out Citizenship teacher, the internet, a Tarot card reader, his friend Amy and finally an attached gay man who he met online. These set of events lead Tom (and the audience) to continually swing between thinking he is straight and thinking he is gay. In a moment of confusion he and Amy sleep together which leads to the inevitable pregnancy of Amy and introduces the theme of parenthood (highly reminiscent of the recently released Knocked Up). A whole host of different issues are explored in the play which, as in Chatroom, are highly relevant to both teenagers and adults alike. The title ‘Citizenship’ refers to the GCSE subject Tom is studying, the title of which (“What a multicultural society means to me”) could not be more apt in British society today. Drug use, teachers, peer pressure and school are all topics which everyone has had to contemplate and ensures a fervent interest is kept in the play. The director (Anna Mackmin) pays attention to small details which teenagers would identify with such as Britney Spears and Amy Winehouse ringtones, myspace and two school children doing ‘blow-back’ with a spliff.

Citizenship saw acting talent of high calibre once more. Richard Dempsey carried out the role of “Sir”, Tom’s young teacher who is constantly on edge. Dempsey is extremely competent at portraying these qualities and is successful in breaking the stereotypical view of teachers so common in all types of media. Here, he is seen as a real person with all kinds of their own demons. Michelle Tate, as Amy, earned a lot of laughs with her aggressiveness paired with her “therapy” babble. However, she does not quite pull off the “sarf” London accent, occasionally slipping into Aussie. George Rainsborough showed variety in his acting skills this time giving a side-splitting performance as Gay Gary (highly ironic), a stoner with an identity crisis. Some of the characters seemed to be slightly caricature but this only served to reinforce the light-heartedness and comedy. Slapstick humour, sexual innuendoes and crude gestures aplenty, this appealed to the younger viewers and indeed any of us with an immature side.
With a personal preference for the unceasing, upbeat comedy in Citizenship, both the plays have the audience enthralled from the beginning until the final applause. For the philistines out there who find the idea of the theatre daunting or boring, Chatroom/Citizenship is an ideal transition into the wonderful world of the stage and guarantees a great time too. Currently on your, if you miss it at the National do try and catch it when it is showing at any of the other cities within striking distance of London (Oxford, Cambridge, Brighton amongst others). For tour dates visit: www.nationaltheatre.org.uk

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