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113 review

Written by Ethan McLucas 113 is a play about memory and identity. It follows characters 49 and 64 - trapped in a room, separated by a wall - as they try to recall and piece together their past forgotten lives. The performance I saw was at the Hope Theatre, but has previously played other venues, and has plans for continued performances elsewhere including the Edinburgh Fringe.  

The most significant element of 113 is the set, due to the wall that separates our two protagonists.  Depending on where you sit you may only see just one of the protagonists for the entirety of the play, mimicking the experience of the characters. From where I was positioned I could see both sides. I wonder if the wall was extended, cutting through the audience, separating friends and family, it would feel much more intentional. Instead I came away feeling like I had the definitive "better" view. 

The slightly creepy music of Xiu Xiu played on entrance was well chosen to set the atmosphere (though perhaps I am biased being a fan). I found the sound design through the play to be a positive addition . Although completely unintentional, the sounds of the pub downstairs or busy street outside would often bleed through into the venue. This gives the feeling that there is this world out there we are trapped from seeing - again putting us into the shoes of the characters. 

For 133 to really stand out it needs to go further in its radicalism, and to adopt a stronger directorial vision that better immerses the audience with the claustrophobia of the situation. It feels as if there is the opportunity to disorientate, or even sicken the viewer, and it is unfortunate that 113 feels limited by budget (among other things) in this regard. 

The humour interspersed feels very natural - often like playful banter between friends - and is an element that keeps 113 engaging. The surrealist clowning of Sali Adams is a personal highlight, she plays this hallucinatory(?) figure that torments 49. Taylor takes on this role alongside a number of other roles in the production. 

The quality of the acting across the board is very good. Both lead characters have well developed stylistic identities, but they run the risk of being caricatures - at least near the start of the play. In the case of 49 (Isobel Glover) the huffing and eyerolling are somewhat excessive, and they often read as too self-assured when considering the situation. 64 (George Loynes) perhaps goes too far the other way - and is the resident crybaby of the show; greater opportunities must be taken to explore a more multifaceted characterisation

113 seems to walk a well-trodden path and it must have the guts to go further. Despite its flaws however, I found 113 to be a rather enjoyable way to spend 60 minutes, mostly thanks to the unreserved performances of Glover, Loynes and Adams. I see no reason why it should not fill a gap in an Edinburgh Fringe schedule. ★★★☆☆



Thank you to Deja Vu Productions for inviting me. Tickets were provided free of charge and I was given full control over the content of the review.

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