AFTER LIVERPOOL/DEATH, SEX AND ROOM SERVICE
PENTAMATERS

THE very moment Eve and Adam bit into the apple in the Garden of Eden, they lost an important yet unspoken link of communication between themselves, and with God, and so began the miscommunications of humanity.
The offending apple stars in After Liverpool as a bemusing symbol of the way that people in intimate relationships fail to communicate with each other.
With no storyline, After Liverpool restlessly darts in and out of a series of conversations, representing the agonies of communication breakdown within a relationship.
The play tries hard to be nonchalant in its pessimistic take on human relations but the scarce script fails in its obvious desire to emulate the powerful connotations of understatement exemplified in the work of Samuel Beckett.
After Liverpool might have been salvaged by a stronger and more charismatic cast. This possibility was hinted at by the engaging performances from Sacha Deakin, Shani Perez, Richard Benwell and Nicolas D Blake.
However all of the actors took on a new leash of life in the dark comedy Death, Sex and Room Service. Set in a top hotel the play is everything the title suggests. Two maids inadvertently kill an aging rock star during sex. Tabloid journalists wait hungrily for an exclusive whilst avoiding the fading charms of Z list ex-soap heartthrob Vince. Vince is pleased to find he still has a stalker, Andrea, despite his waning celebrity.
Meanwhile the 73-year-old ghost of a French call girl is thrilled that rock star Ron has joined the dead, to relieve her of the mocking from the scrooge-like Ray. Ray was a top marketing city boy who realises on the first anniversary of his death that his friends and wife despised him.
Death, Sex and Room Service tries to recreate the reality TV formula and gets the same result. It lacks any real depth or meaning but is very entertaining spectacle of a group of loosely connected group of people.

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Until July 5