Rapture review

Rapture breathes new life into an age-old story of family, friendships and moving on. Written and directed by Sophie Leydon, it was originally developed through Tabby Lamb’s Queer Theatremaker’s Handbook Course and this production evolved at the London Performance Studios. 

Leydon constructs her play along epic lines, exploring universal themes and emotional truths. Parties, drinking and hook-ups provide a welcome respite from the seemingly constant battle for survival in London. Rosy, Kit and Tommy have bedded comfortably into their urban family, living their best queer life in an east London flatshare, but it’s a delicate balance requiring a robust constitution. 

Tommy may be drinking too much but he refuses to address the constant buzzing in his head. Preferring to mute the insistent noise, he is thrown off-kilter when a hook-up goes too far without his consent. Rosy and Kit have settled into a non-official monogamous relationship but seem unable to move forward with it. Rosy has a history of depression that haunts her, while Kit’s struggle with alcoholism is exposed as daily battle.

All thrash out their problems, confronting the ghosts of their emotionally complex pasts with startling honesty. Love, grief and healing are seen though an LGBT+ prism that incorporates issues of gender identity, sexual consent and polyamory.

Told through a mash-up of poetry, dialogue and verbatim text, Leydon dovetails each of these forms into an engrossing and entertaining drama. Its loose structure somehow reflects the chaotic lives of the trio but there’s also discipline in the writing and performances. Not a moment is wasted and there is a palpable sense of urgency as the story unfolds.

Between them, the three actors conjure up Leydon’s frenetic vision of life in the hedonistic fast lane, fluidly slipping between characters. Izzy Neish lends integrity to Rosy’s complex emotions, fleshing out the character with a beguiling honesty. This is complemented by Sam Crerar’s nuanced turn as Kit, arguably the strongest and most ‘together’ member of the family. Bryan Moriarty’s acerbic, quick-witted Tommy occasionally threatens to steal the show with some punchy one-liners.

Rapture marks a promising debut from Pink Sky Theatre Company, addressing how the queer community has the power to heal itself from within. The examination of the urban family is by no means a new concept in drama, but seldom has it featured such a multifaceted perspective.