Upon walking into The Ron Barber Studio at Birmingham’s Crescent Theatre, we are greeted by the sound of an incessant ringtone. You would be forgiven for thinking that perhaps someone in the audience hadn’t yet got round to switching their phone to silent! However, the sound is coming from an old Nokia phone onstage, which continues to ring out as the audience take their seats. The unanswered phone creates an unnerving tension in the room, which starts to feel very apt as the intense two-hander gets underway.

Created by playwright Neil LaBute, The Mercy Seat follows a day in the life of married man Ben Harcourt (Joe Palmer) and his boss/mistress Abby Prescott (Angela Hewett). That day just so happens to be September 12, 2001 - the day after Ben was due to work in the company’s office at The World Trade Center but skipped work to visit Abby. With his wife and children none the wiser, Ben wants to seize the opportunity to fake his death and start a new life with Abby, but first he must convince her that the devastating tragedy could double as their fresh start.

The Mercy Seat marks Robyn Dickinson’s directorial debut at The Crescent, and an impressive one at that, as Dickinson confidently handles the controversial subject matter of the 2001 terror attacks, in a show that combines intense drama with dark humour but never once crosses the line into inappropriateness.

Although the 9/11 attacks act as a catalyst to the storyline, at its heart The Mercy Seat is the story of a dysfunctional couple. Joe Palmer and Angela Hewett convincingly play out the tumultuous dynamics between the quarreling couple, in a way that feels familiar despite the absurdity of their situation.

The only thing that audiences might have to take with a pinch of salt is the suggestion that the radiant Angela Hewett is much older than her love interest, when she does not appear much older than her co-star! That said, Joe Palmer does an impressive job of depicting Ben’s immaturity through his body language, sprawling across the sofa like a teenager and practically stomping his feet in defiance. Yet Palmer also musters a level of charm that makes the character of Ben feel relatable despite Ben’s questionable morals, immaturity, and overall cowardice. Meanwhile, our hearts ache for Hewett’s Abby, as she questions whether Ben truly loves her, and garners our sympathy simply through the way in which she despondently refills her wine glass time and time again. 

The use of the set and props from Graeme Braidwood and co. is very clever, and keeps the action to one room. Having neither performer leaving the stage is a bold choice, but helps to boost the intensity of the situation and makes us - as the audience - understand how trapped they feel. The set is minimal but detailed, with a great level of thought going into the props on the bookshelf, which feature a photo of Ben & Abby’s skiing trip, plus an old iPod classic and portable CD player to represent the 2001 setting. However, an eagle-eyed audience member might notice that although Adele Parks’ One Last Secret fits the plot of the show, it was released in 2022, which made it feel a bit out of place amongst the scenery.

The Mercy Seat is an intense and thought-provoking watch, which leaves us questioning our own principles. After all, haven’t we all dreamed of an easy way out of our problems, and could we really resist the chance to take it?

**** Four stars

Reviewed by: Kirstie Ewer

The Mercy Seat plays at The Crescent Theatre in Birmingham until 28 January, with tickets available here.