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Review: CONSCIENCE, The Cockpit

As part of The Camden Fringe this year and supported by Young Actors Theatre Islington, an inclusive organisation and safe space working towards equal opportunities, and therefore exciting potential for new unique work, two thousand and one productions work in collaboration with Laila Latifa once more in her new show, carefully inspired by real-life police interrogations.

 Everything may not be as it seems as, here we sit, a fly on the wall in an interrogation room with Bella Michaelson, attempting to fight back against incriminating evidence and accusations of murder. 

 Conscience is a show of subtle details and clever modes of storytelling on a blank canvas of a beautifully effective simple set with a single spotlight. All the way down to costume choices indicating growing maturity and hints of symbolism as we edge towards the epiphany of the piece. 

 The story dips into the world of surrealism to discuss the topics of means, motive and murder; exploring different versions of events from all angles, driven by internal and external conflicts. 

 Relatable, human moments of attitude bring welcomed elements of humour, drawing sniggers from behind shaking hands clasped tightly but ineffectively over the mouths of tickled audience members. 

 We are led through these scenes of push and pull with casual innocence and natural delivery on a stage where emotions develop like film photographs. Snapshot after snapshot, idea after idea, perspective after perspective, until we get to the clearest picture.

 The cast work as a team, bouncing off one another and working together to fill the stage space. Featuring an interesting, unexpected, fluid relationship between characters, they create an environment of balance to certain effect, especially when tackling varied sources of emotion.

 The characters are exceptionally ordinary for the most part with moments of glistening complexity. Jacqueline Craine, playing Detective Muller, showcases amazing control over emotions, with Amelia Kingsnorth following closely behind as the protagonist, Bella Michaelson.

 Olivia Rainbow’s performance as Sergeant Jones is incredibly natural, producing easily the most real and believable character of them all. Finally, Zafra Howard is a shining light in this production and her added contribution as assistant director only goes to prove this further. 

 The overall performance is not overdramatic, to the point where it could be real life. In a way impressive, but doesn’t it also run the risk of becoming a little uninspiring? When we go to the theatre, do we not expect a little more escapism? To feel like we have been taken into a different world? Rather than watching a conversation mostly with the same dynamics and feel of something we could eavesdrop at our local coffee shop?

 Drama flows in inconsistent waves with each new accusation and builds with powerful lights by Noa Penia, alongside sound design and interesting use of music by Jemma Moylan Torke, as individual characters take control of the narrative and therefore our understanding of it.

 The audience sit just outside of the world of the play, out of the loop but still reeled in with the pure human urge to figure out what is going on in front of us, jumping back and forth between innocent and guilty verdicts.

 Some of you may relate to getting that feeling of elation at the reveal of a plot twist, when it suddenly comes to light how intricately and cleverly put together every choice made up to that point had been and you are able to marvel at the unimaginable potential of storytelling. Conscience is a narrative that goes in circles and literally twists and turns and, although it is granted you are safely guided through it, never lost, something is, unfortunately, missing. 

 The actual concept and writing by Laila Latifa are so clever and the result being attempted is lovable in itself. Her outlook is so interesting, thought-provoking and filled to the brim with potential but the delivery did not quite do it justice.

 Leaving the theatre after full understanding of the plot has sunk in and the cast has taken their final bow, it is clear it could have been so much more dramatic and powerful, and the lasting impression is somewhat underwhelming, the audience lingering in their seats not entirely sure that it was over.

** Two stars

Reviewed by: Louisa Clarke

Conscience plays at The Cockpit in London until this evening (5 August), with further information here: 

https://www.thecockpit.org.uk/show/conscience