“Let’s go treasure hunting. Shall we go treasure hunting? Let’s go treasure hunting.”

That’s the question X, Y and Z (characters who are only named in the paper handouts associated with the show) constantly ask each other: from childhood into official-adulthood. And Kalon Theatre’s first show, Child’s Play, is full of treasures.

“Let’s go treasure hunting.”

Before the first line of the show is even uttered, the audience is treated to a heavy dose of nostalgia. The stage area is set up with typical children’s toys: that soft mat that one puts together like a puzzle; wooden train tracks; Lego (or Lego-type plastic building bricks, if we’re avoiding copyright). But the emphasis is placed on the red, blue, and yellow ABC blocks used repeatedly throughout the performance. Anastasia Campos’ carpentry is a fun blast from the toy chest of the past.

Daniel Turner’s script expertly blends spoken word with traditional dialogue, constantly flip-flopping between the forms. The changes in tone are always very clear and they tend to come about quicker than one would expect, but they never once feel forced or unnatural.

Holding a mirror up to our society (or perhaps a front-facing camera would be more appropriate in this instance), Child’s Play is biting satire. And it is hilarious, until one realises how depressing the truth it presents truly is, especially for a Millennial. One of the most resonant lines in the show is “no one seems to know what we are, but they know we’re terrible.”

“Shall we go treasure hunting?”

Among the brilliance, however, there are moments of isolated, sectionalised self-importance. Now, the show is in defence of Millennials and the brush we all seemed to be tarred with and I get that, but some of the anger in it came from the fortune of privilege. There is a moment where the characters argue about the best way to make a difference. Z takes the stance against Y that nothing can be done through digital means; that change comes from marching and actively doing something. I saw his point, but when we live in a world where women march against sexual harassment and someone who has unashamedly taken the kind of stance towards women as a certain President has in the past, can gain as much power as said President now has, I question the efficacy of marching. When people can march for the equality of black lives amid complaints that their concerns aren’t actually valid, yet see no change in the way law enforcement approach the poorest and darkest of our society, I question the efficacy of marching. Granted, much of this is happening across the pond, yes, but our American cousins are not that far removed from us. As one of those pesky millennials, I understand the pain in the show and I feel the anger Kalon so aptly present; but as a member of quite a few traditionally marginalised groups, I also realise there are bigger problems then convincing older generations that we are more than avocado selfie-takers who aren’t buying enough diamonds.

“Let’s go treasure hunting. Shall we go treasure hunting? Let’s go treasure hunting.”

You don’t have to hunt for long to uncover Kalon’s treasures and I look forward to their next show. Dominic Corfield, Anna Dobrucki and Turner’s energies bounce off each other onstage like pinballs, and Chloe Christian’s direction makes the most of the trio’s talents; I have no doubt that their next brainchild will be just as rib-ticklingly relevant as Child’s Play. I also hold out hope it will follow its predecessor and have a few little goodies of trivia. Without this show, I probably never would have learned the charming Chinese alternative to Millennial: ken lao zu, which, translated, means “the generation that eats the old”.

Millennial doesn’t sound so bad now, does it?

Child’s Play played at the New Diorama Theatre on 16th November 2017. For more information, see www.kalontheatre.com.