Callum Mardy and Joe Bolland in Paper Cut at Park Theatre. Photo credit Stefan HanegraafSuspended above the playing area (like missiles ready to rain down) are a dozen fluorescent strip lights. There is a smooth white floor, and a plain wooden backdrop occupies the last side of the space which is otherwise surrounded by the audience.
Injured by the detonation of an improvised explosive device while on a tour of duty, gay soldier Kyle (Callum Mardy) has been shipped home and passes his days chatting online, dismissing his traumatic experience as a paper cut. He has lost limbs and his sex life is a thing of the past. Through flashbacks we learn of a romantic connection with one of his subordinates Chuck (Prince Kundai) who subsequently looks him up once discharged from the military after his own admission of being gay. Kyle’s brother Jack (Joe Bollard) is a medico who feels a familial desire to help, but is also wracked with resentment for a wrong done to him by his brother. Finally, a younger guy Harry (Tobie Donovan) harbours romantic delusions for Kyle through their online conversations, but literally doesn’t have the full picture.
Good intentions are writ large all over this piece and perhaps with a little more pace and consideration for audience sight lines, Director Scott Hurran would have a far sharper production on his hands. As it is, the actors (presumably whilst searching for their truth and ways to imbue gravitas) have a tendency to mull over line delivery which causes some exchanges to drag unnecessarily. Cutting 8-10 minutes off the running time would add considerably to the play’s crispness and would deliver an edgier vibe to proceedings. Ron Kovic would most definitely approve the sentiments — but Born on the Fourth of July had violent protest scenes and Tom Cruise’s drive to deliver energy. On a small stage in north London, additional pace could well prove the players’ and the play’s best friend.
The production runs to 1st July.
