![]() Tobin becomes the villain of the piece when the plot takes an improbable turn into territory resembling the 1990s film Indecent Proposal but this does not carry the emotional drama or credibility that it should. No character is likable – except perhaps for the dithering Kas. Because the characterisation is so two-dimensional, we do not believe in this group, or their anger. These are often amusing but lack surprise or bite. There are debates on poverty, race, sexuality, appropriation, the hypocrisies of the liberal elite and Brexit. She speaks about cultural appropriation but is drowning in class privilege. Tobin claims to want to listen and learn rather than exercise his privilege but is too predictably hypocritical and even mansplains the etymology of the word “woke” to his wife. Kas is her wet British Asian boyfriend while Adaego is a sloaney black British journalist, and Tobin a performatively apologetic “straight white male” who brags about giving up a TEDx talk to leave the path open for “women and people of colour”.Ĭulture wars ensue, and each character embodies an ethical or ideological position, often telling us the position they are taking. Jacq is a plain-speaking bisexual woman who grew up in white, working-class poverty. Directed by Emma Butler and written by Deborah Frances-White, comedian and creator of the hugely successful podcast, The Guilty Feminist, it is entertaining fare with some zinging lines, and a fine cast who have evident synergy on stage.īut the fun, frothy satire loses its fizz in the course of two and a half hours and the drama groans under the weight of all the issues it takes on.
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