80 minutes of smart and satirical entertaining theatre is a real little treat at the Oxford Burton Taylor Studio.
NSFW - used to denote soft-pornographic internet content that is 'Not Safe For Work' - is a 2012 work from award-winning playwright Lucy Kirkwood. The piece consists of two separate playlets sharing a downtrodden, desperate young graduate with journalistic aspirations; in the first as an exploited intern in the offices of lads mag Doghouse, and in the second as a prospective dogsbody in interview at a glossy magazine.
For the first half of engaging theatre, Doghouse is in crisis as it turns out that their latest lucky winner of scantily-clad fame, is a 14-year-old girl from Manchester. On the other end of the targeted media demographic, Electra is the type of high-circulation magazine that puts big red rings around a patch of celebrity cellulite or bingo wing and pastes it on their front cover. With the play planted between the two offices, it's a clever set up, through which is neatly expressed the worryingly astute observations of parallel objectification and commoditisation of beauty, and its multi-level accountability. One side claims to be simply providing a service, the other is scrutinising superficial beauty, pointing out non-existent flaws in an unflattering photograph displayed next to a photoshopped advert, all in the name of a feminist agenda.
For a play that has such a clear critical message, one felt that it could easily have toppled over into self-satisfaction or rant, but it didn’t. This is testament not only to a cracking script, but also the deft touch with which each member of cast and crew fulfilled their role.
Kirkwood delivers a snappy script, interchanging sickening realism and cruel black comedy - though perhaps only in Oxford would the biggest laugh of the night come from a gag at the expense of the New Scientist. There's even a rather prophetic joke involving Nigella that only emphasises quite how on-point and topical Kirkwood's writing is, but it all provides the perfect platform for some excellent performances from a young, enthusiastic cast.
Doghouse worker and 'Eton mess' Rupert is a gift of a part, played with relish by Titus Badawi-Crook, alongside the intelligent and ethically-torn Charlotte (Sammy Glover). Max Bray and Lucy McIvor are clearly having great fun with amoral editors Aiden and Miranda, playing the loathsome villains to great effect. But it is the poignancy and tension provided by Mancunian everyman father of the 14 year old that provides the dramatic heart of the piece. Brilliantly performed by Marcus Balmer, he plays Mr Bradshaw with integrity, turmoil and restraint, while surrounded by the organized revolting chaos.
A simple set drawn with broad strokes, worked well as simple scene setters for the action, in the tiny BT, and co-directors Isabel Marr and Ellie Keel can be very proud of their work.
At £6 and 80 minutes, you've really no excuse.