What I liked
The lead actress (and producer), Gabrielle Archambault, showcases a studied and impactful physicality, which allows the audience to really feel Jess’s pain. The fact that she also did her own prosthetics is admirable. Hans Heilmann’s “no holds barred” approach to Kelvin, who is alternately bro-ishly annoying and endearing, reflects the animalistic energy Heilmann brings to the stage. His guitar playing ain’t bad either.
What I didn't like
Though the play was written in 2015 by an acclaimed playwright and has won major awards, I found its structure to be a bit repetitive with only minor variations, as opposed to having a stronger story arc. Had the script been 75% as long, I think it could have told the same story in a more urgent and powerful way. However, this company of actors and their director had no control over that, so they’re to be commended for their work nonetheless.
Lastly, the ending was such a tender familial moment that it made me want to know more about the mother character (played by Suni M.) and her relationship to her daughters. Had the script explored that dynamic in greater detail, it could have enriched the emotional impact of the piece.
My overall impression
I tend to gravitate toward plays that deal with meaningful issues in society, and this play did just that, delving into the nature of PTSD and how war devastates its very young combatants (both physically and psychologically), as well as exploring a cutting-edge technology like virtual reality therapy and how it can benefit those same combatants.
Due to the technical (and budgetary) limitations of the Fringe, the voiceover for the VR therapy was staged live, but in some ways that made the effect more interesting, as the actor playing the VR voice also became the mother later in the piece, in a way that was reminiscent of the time-travel sequence in the Jodie Foster film “Contact”.
I also appreciated that this production added dialogue in Arabic between the family members, which suggested they were of WANA (Western Asian and North African) descent (I prefer to no longer use the Eurocentric term “Middle Eastern”). That was clearly a modification to the original staging that allowed the actors to make the play theirs.
