This powerful production embodies new writing at its best: relevant, challenging, and absorbing. The 7/7 bombings serve as the catalyst for the action, but the writer, Damien Tracey, uses a broken chronology to wonderful effect, allowing a broader focus on an imaginative impact of this very real event, which proves utterly captivating. We meet a widower, who lost his wife in the bombings, his old school friend who now has a family, this friend’s sister-in-law, and her politician boyfriend.
Each of the characters is well-written, developed, and consistent in personality. Consequently, we can see how their personal histories have shaped them, and why they are making the choices, or taking the stances we see in the play. Tracey creates real voices, with justified points of view, and extremely strong performances across the cast bring these convincing, rounded people to life with utter conviction using the perfectly crafted dialogue.
Despite the raw subject matter this play succeeds in being truly funny. The audience are afforded a moment to relax through the laughter this dark humour creates, and it is a testament to the director, Jason B Moore, and actors that they could enjoy comic touches, but also immediately rebuild the tension, often even before the laughter had died down. The comedy is all found within the situations, and comes believably from the assessment of their own situations by the characters, and as a result never feels forced, instead merely adding to the depth of the characters.
Every performance is impressive. The characters and relationships feel well-developed, and the investment of the actors in their emotions and reactions is considerable. Cameron Harris as David and Avita Jay as Sam are a pleasure to watch together, and the play benefits from their ability to react naturally to one another. Harris in particular is every inch the politician, and allows himself the time to feel everything, really make each decision, before he speaks. Omar Ibrahim gives a compelling performance, and in his first scene as Ashfaq conveys consuming tension both physically and vocally, palpably altering the atmosphere as soon as he enters the room.
Ruby Visaria brings maternal warmth to the role of Yasmeenah, and each of her relationships and emotions are credible. Shane Noone as Eddie really sees the life with his wife he has lost as he remembers it, and paints it vividly for the audience. His emotional turmoil is almost tangible. The conflict between Eddie and Ashfaq escalates organically, and the audience is guided through the journey to Eddie’s madness.
‘Warde Street’ is gripping, and questions the divide between personal and political, and more importantly, the identity of the individual and collective responsibility. Although thought-provoking ideas are voiced, the play never errs into preaching. The text is so strong, and performances so captivating that the simple staging works, and the music only aids the heightened atmosphere the actors create. Damien Tracey emerges from this phenomenal production as a playwright to watch. Everything the Fringe should be about, grab a ticket if you can.
