Review - Run The Beast Down by Titas Halder

Titas Halder’s new writing has our minds and our eyes buzzing with mesmerisation as Run the Beast Down unfolds the blurred memories of a distraught, sleep-deprived urban man.

This one-man play dives into the insomnia-driven mind of Charlie (Ben Aldridge) who faces being sacked from his job and a sudden break-up with his lover all at once. Thereafter progresses a striking neon storytelling of childhood nostalgia, bloody imagery, and an anthropomorphic fox king.

Entering the Marlowe studio was like queueing up for a night club, minus the sweaty, caked faces and cheap booze-lined livers. The live DJ (Chris Bartholomew) softly blasts out booming techno beats, filling the dramatically blue lit studio as strobe lights circulate the bare square stage occupying the centre. The atmosphere is electrifying and stark; it was hard to resist the urge to pump fists in the air along with the beat.

The hypnotic harmony between lighting and sound deserves much appraisal for the composition of the performance. Halder’s text is brought to life through its accompaniment with psychedelic trance music and vibrantly colourful flood and strobe lighting, which at times is perhaps too vibrant it became a little distressing towards the end of the performance. Nevertheless, the compelling composition of these technical elements kept the play from dropping in energy, particularly during moments of suspense and tension build-up between Charlie and the fox, for example. For a play with only one actor on stage, it sure seems like there is a lot happening on the small elevated platform.

Director Hannah Price cleverly curates the space to allow spectators to actively use their imaginations, where lighting effectively transforms a square platform into various contrasting environments, such as a peaceful woodland and the electrifying urban city streets. Complimentary to this is the charm that comes with Aldridge’s storytelling that pleasantly takes the audience through an insomniac’s distorted perception of reality and fantasy in an exhilarating sporadic crescendo. Though humble and witty, it is a shame his character and narration are occasionally lost amidst the loud music and blinding strobe lights, which otherwise flatters his storytelling for most of the performance.

Aldridge’s portrayal of the text compliments the vivid imagery in Halder’s writing, however, the play’s story progression is flawed and sadly lacklustre compared to the colourful spectacle of the performance. It is difficult to realise the significance of “black Dan’s” story, what exactly happens in this subplot, and whether it is real or imaginary. Perhaps this part of the plot drowns in the fluorescent light show that the performance becomes, or maybe another trip to see the show would do the trick… though undesirable.

Run the Beast Down is a visually engaging, energetic performance that emphasises the art of theatrical storytelling. It shows how brilliant and prominent technical theatre is in completely transforming a bare space and how it can vividly illuminate the use of imagery in text. Halder’s original play has the minds of spectators throbbing in delightful exhaustion.

picture from Finborough Theatre website: http://www.finboroughtheatre.co.uk/productions/2017/run-the-beast-down.php