One Small Step
The central theme of the play seems to revolve around pro-choice arguments and the impact that having a baby can have on work life and career ambitions. This exploration raises questions about the personal sacrifices and professional consequences tied to parenthood, and it’s clear that these issues are at the heart of the characters' struggles. However, the chemistry between Susan Monoko Hingley and Mark Takeshi Ota was somewhat lacking.
While it’s understandable that their relationship was meant to be on the brink of collapse, it would have added emotional depth to see a bit more tension or even one-sided affection between them. Instead, their interactions often felt like those of polite colleagues rather than a couple facing personal upheaval.
The set design, by Associate Set Designer Fran Norburn, made clever use of space, contributing to the otherworldly feel of the production. The white, circular stage, with a slowly rotating floor, called to mind images of the moon, reinforcing the play’s exploration of isolation and distance. The surrounding wall housed various props, some of which were used effectively by the actors or simply blended into the scene. This minimalist yet futuristic setting complemented the play’s themes of estrangement and uncertainty.
Despite these strong elements, the ending felt more like the close of an act rather than a true resolution. Many questions were left unanswered, and instead of offering a satisfying conclusion, it resembled an interval where more story should follow. This left the audience hanging, without clear closure of the issues the characters were grappling with.
The play’s pacing was relatively steady, but it maintained a tone of ongoing argument that may have felt monotonous at times. While the scientific questions interspersed throughout were interesting, they didn’t quite offset the constant back-and-forth between the characters, making certain moments feel prolonged.
The use of props such as the coffee machine and printer helped introduce some visual variety, but more could have been done to break up the repetitive dialogue. In terms of audience engagement, the intimate setting and traverse stage configuration worked well to draw viewers into the narrative. The slow rotation of the stage added a layer of visual interest, though it may not have been necessary to the storytelling itself. Additionally, the two vertical screens above the stage, which focused mainly on Hingley, hinted at a possible plot twist but never fully delivered. Their presence seemed more like an unnecessary distraction rather than an essential part of the performance.
While the actors did a great job in delivering the dialogue-heavy script, the lack of resolution— even regarding the search for the document at the play’s opening—left the overall experience feeling incomplete. It would have been more satisfying to see that thread revisited, tying up loose ends and offering a sense of narrative closure.
This show was reviewed on the 2nd October 2024 at the Charing Cross Theatre, London where the show runs until the 9th October 2024. Tickets available here: Charing Cross Theatre
Review written by Valentine Gale-Sides
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