An analysis of evil?
This article is from 2015.
If the final conclusion of Squint's energetic play is correct – that evil is innate, and there is no reason for it – the previous hour, which goes through Molly's past searching for the moment that made her wicked, is a waste of time. Despite the energy of the ensemble, and a nifty concept that evokes reality TV and a celestial tribunal, Molly is an oddly formal imitation of 1990s' neo-brutalist theatre, with its shock content and aggressive presentation.
Much time is spent on as series of incidents from Molly's childhood, which are performed through mannered impersonations of young people. This approach smothers the actors' abilities, which are revealed in flashes, and the baby-talk become irritating when the action moves to teenage years. The physical theatre interlude, a montage of Molly's life from 18 to her late twenties, is effective, but suggests that she did not change from her teenage self, despite University, marriage and a career.
The inevitable violence is given plenty of time, and unfurled from different perspectives. There are some intriguing ideas about the possibilities of performance in the script, but little psychological insight, and the talented ensemble are hampered by the hammy direction.
Pleasance, 556 6550, until 30 Aug, 4.20pm £9–£10 (£8–£9).