Review: SAP, Soho Theatre

Photo credit: David Monteith-Hodge

Rafaella Marcus’s new play SAP, first performed at the Edinburgh Fringe Festival in 2022, now takes to the Soho Theatre stage. SAP follows a nameless woman who becomes caught in a lie about her own sexuality which threatens to uproot her relationship with her girlfriend. Matters escalate when a previous fling becomes dangerously, suffocatingly obsessive and stalks the nameless woman, backing her into a corner.

SAP is marketed as a ‘contemporary thriller with ancient roots’, and fans of ancient mythology will nod knowingly at the themes of metamorphosis accented throughout the text. Like Daphne fleeing from a rapacious Apollo in the ancient myth, the nameless protagonist envelopes herself in arboreal language, growing leaves and bark and deep, deep roots for self-preservation, to defend herself from external attack.

Marcus’ script is densely packed with quips and asides, which feel like a comfort blanket for the protagonist, unsettled in her identity as a bisexual woman. Having seen a number of queer plays, especially at the Soho Theatre, few - if any - dig in so thoroughly to the bisexual experience and biphobia. Discrimination is levelled at the nameless central character from all angles, from queer and straight characters alike, and although the scope of this exploration should certainly be applauded, Marcus does little to unpick the reasons behind biphobia within the lesbian community, or understand the roots of discrimination within the LGBT community, which makes this play feel a bit like a one-sided conversation.

Jessica Clark and Rebecca Banatvala are a powerful duo onstage. Jessica Clark is funny, engaging and dynamic as the primary narrator in this piece. Rebecca Banatvala provides solid support rotating through every other character with subtle, nuanced and elegant definition. The two impressively alternate between fizzing sexual chemistry, to electric tension and deep-seated loathing.

Director Jessica Lazar and movement director Jennifer Fletcher conduct this small cast fluidly and with steady pace and escalation.

David Doyle’s lighting design is staggeringly immersive, at times plunging the audience into a fecund, forest-like space, then pulling the audience up short with cold, stark, exposing contrast. Doyle’s design, beautifully reflecting off the mirrored surface of Rūta Irbīte’s simple set design, is colourful and poetic, blending harmoniously with Marcus’s tendrilled monologues.

Powerfully performed and slickly directed, SAP is a startlingly original piece that wraps around you and creeps under your skin.

**** Four stars

Reviewed by: Livvy Perrett

SAP plays at Soho Theatre until 22 April, with further information here.