Theatre 503, London – until 14 March 2020
A finalist in Theatre503’s International Playwriting Award in 2018, Gillian Greer’s Meat is just as topical, and troubling, two years later. The play follows exes Max (India Mullen) and Ronan (Sean Fox) through one messy, bruising evening at his fancy Dublin restaurant. Successful blogger Max has come to let Ronan know that in her upcoming book, she intends to reveal he once sexually assaulted her at a party. Horrified, he protests his innocence, claiming to have no memory or knowledge of the night in question – while his loyal restaurant manager Jo (Elinor Lawless) wonders why Max has waited until now to talk about such a traumatic event in her life.
These are complex issues, and the play explores that complexity in an open, thought-provoking manner, ending both literally and figuratively on an unanswered question. Most importantly, though we never doubt Max’s account, Greer avoids painting a picture of villain and victim; it’s far more nuanced than that. Ronan did “a shit thing”, but that doesn’t automatically make him a monster; Max may well benefit financially from putting the incident in her book, but that doesn’t mean it didn’t happen, or that it didn’t have an effect on her. It’s particularly interesting to note that all three characters begin the evening with a fixed definition of what rape means, and to watch as those clear-cut lines begin to blur and shift.
Though all the action takes place over one evening, the timeline of those few hours is non-linear. This allows us to observe certain events, and in particular Ronan’s behaviour towards both women, in the light of later revelations – though it does also present something of a logistical challenge, given that each scene concludes with a bit more food or drink symbolically smeared across Ronan’s previously pristine walls and floor. It’s testament to the clarity of both Greer’s writing and Lucy Jane Atkinson’s direction that we never find ourselves lost or confused as to where in the story a scene is located.
The building tension within and between the two principal characters is played very convincingly by Mullen and Fox. As Max, Mullen visibly unravels as the wine flows and Ronan continues to resist giving her the answers she wants, while Fox’s performance swiftly makes it clear that beneath his amiable exterior Ronan was – and perhaps still is – more than capable of doing what Max claims. Meanwhile Lawless provides some much needed comic relief as the ever watchful Jo, but she also has a much more pivotal role: that of the outside observer, the one who listens to both sides and voices the opinions that always accompany an accusation of sexual violence.
The choice of setting is deliberately uncomfortable, setting the balance of power in Ronan’s favour – in more ways than one, as it turns out – from the off. Rachel Stone’s set is visually striking, and in line with the restaurant’s policy (“Vegetarian? Fuck off. Vegan? Fuck off”) it’s in your face, makes no apology, and should probably come with some kind of trigger warning.
Pig carcasses adorn the walls along with artistic renderings of raw meat, while in front of them Ronan cheerfully explains how foie gras is made to a less than enthusiastic Max. In the background, Annie May Fletcher’s sound design maintains a hum of background conversation, reminding us the pair are not alone, but acknowledges the intimacy between them at key moments by drowning out the crowd with the sound of a heartbeat.
It’s taken two years for Greer’s play to make it to the stage, but it’s been more than worth the wait. Meat is an intense and thoughtful play, which doesn’t spoon feed answers to its audience but instead poses a set of questions and leaves us to process them in our own way and within the frame of our own experiences. It may not be a comfortable watch for everyone, but it is a vitally important one.
Meat is at Theatre503 until 14th March.
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