‘Sex Cells’ review
‘strong and creative show…that encourages us to exercise compassion and empathy.’
As I headed into the Holy GrAle to watch Fourth Wall Theatre Company's sold-out production of Sex Cells, I was greeted by the sight of condoms littered across every seat in place of theatre programs. When I left, condom in hand, I pondered if this served as a metaphor for the entire night: an invitation into a witty, chaotic, emotional but ultimately non-judgmental discussion of motherhood. The production follows trends of using flexible and innovative performance spaces in DST, and presents an entertaining and enthralling portrayal of motherhood in modern society.
Directors Megan Dunlop and Mindy Cao's use of the performance space evoked a sense of disorder, with three tables of miscellaneous phones, magazines, notebooks, stationary and a blow-up doll sprawling across the tightly packed room like the average Durham dorm room. This striking image set the tone for the show, where the four female employees of Aphrodite argue, question their mutual conceptions of their femininity, and make important decisions concerning their future. The amount of clutter plays into the overwhelming nature of their thoughts, from the fiery and fast paced confrontations over their differing ideologies exemplified by the stress of work, to how their problems slowly cluttered their thoughts and state of mind as time went on. This was greatly received by the audience, creating a feeling of intimacy that intensified the emotional peaks and valleys of the play, while inviting them to listen and stay compassionate regardless of their thoughts.
The entire cast put a strong set of performances across the board, and should be commended for their efforts in bringing this show to life. First, Ellie Kinch's Janice exudes her emotional fatigue and weariness, playing off the quick-tempered nature of her fellow co-workers to show the burdens imposed by her motherhood. Despite being the quietest character of the bunch, Kinch's performance held the room together with tangible sorrow and pain. Katherine Thompson managed to bring out Sylvie's desperation over failed IVF attempts and her identity crisis towards adoption. Her stage presence was filled with erratic outbursts and contemplative reflections with Izzy Bainbridge's Lily, dealing with divorce and attempting to reconnect with her estranged son. Bainbridge displays an impressive command of range, from a teary-eyed plea towards her son to the banter-filled sex toy hotline orders. Both Tess Garrett's Tiffany and Damola Amusa's Mr. Causeway were comedic standouts for me. Garrett's sassy and aloof demeanour, and general apathy towards work were hilarious to watch, lighting up the room with loud projection and impeccable comedic timing every time she was on stage. Amusa's prim and polite interpretation of Mr. Causeway juxtaposed him with the cast, elevated by some outstanding physicality and timing. He was the perfect middle manager, meekly attempting to pacify the chaos while gently flirting with Lily in an attempt to win her hand. My only criticism would be that the delivery and pace of lines were too quick at times. Although this was initially to highlight the rising tensions of the office, this spilled over to some of the more emotionally profound scenes, and I wished that the cast could pause or slow down when necessary to allow the text to breathe and speak for itself.
In conclusion, Sex Cells was a fantastic watch that combined an immersive performance space with realistic and compelling acting of Fourth Wall's brand of theatre. Producer Muna Mir has not only put together a strong and creative show that the entire cast and crew should be proud of, but a space that encourages us to exercise compassion and empathy.
By Linus Cheung.