Gallows Rope seeks to explore issues peculiar to twenty-first century London. Solitary existence, overpopulation, and Londoner’s inability to communicate with people sat opposite them are all facets that inspired the creation of this play. In theory, these themes seem to be the makings of a successful show, which explores relevant issues facing many city dwellers today. However, Mamet Leigh’s (scriptwriter and Director) latest play fuses an unnatural script, overdramatic performances, and an unrealistic (to the point of comic) atmosphere to create a play that leaves little room for serious contemplation of twenty-first century metropolitan issues.

The protagonist is a financially challenged, insular hermit named Emile, who hates everyone and everything. He struggles to relate to his middle aged landlady, and later takes issue with the introduction of a new tenant (Helena) who we later learn is seeking independence from her controlling husband (Hamish). The opening scenes of the play create a quiet, awkward atmosphere that doesn’t seem intentional. Scene changes are slow and clumsy and the characters’ dialogue pierces uncomfortably through the work’s soundtrack of silence. The lines delivered are unrecognisable as everyday speech, and the characters often blatantly state how they are feeling. “I’m so alone” Emile proclaims. “I’m so angry”, “I’m sick of you and your communication stuff”, “Nothing makes me smile.” This transparent emotional oration is one of the key problems with Gallows Rope. Leigh’s script lays everything on the table (diametrically opposing the traditional theatre technique of “show, don’t tell”) so that the audience need not employ any cognitive processes to interpret the play’s meaning.

Despite Emile’s initial scepticism about meeting his new flatmate – Helena – their tense arguments descend into a climactic embrace that leads to a hedonistic, romantic relationship. Although this change of pace from the opening scenes brings a welcome sense of variety to the work, Emile’s character development is too sudden and overacted to be believable. He and Helena dance around their lounge to ‘Chatanooga Choo-Choo’ demanding sex from each other. “Rape me” Helena cries, a disturbing summarisation of the various sexist moments that permeate the play. Mrs. Rysover cleans up around Emile as he reads the paper.  Hamish comes to find Helena, and in the process asks Mrs. Rysover why she hasn’t had children; “You’ve got a good body, so why not?” Whilst one may argue that the presence of these misogynistic scenes and opinions are merely aspects of the character’s personalities, their presence seems too frequent and not in line with the aims of the play for them to be passed over as inoffensively contributing to the artwork’s intention.

Gallows Rope comes to a sudden end, where we learn Helena has killed Hamish (who walks around the stage proclaiming “I’m dead” with a floppy knife stuck to his back), and Emile wants to kill himself. “Life… it’s too long” he states. It is a shame that such a relevant subject matter could not have been forged into a more entertaining and thought provoking theatrical experience, and instead has become a simplistic work comparable to an over-dramatic soap opera.

Gallows Rope is playing Bread and Roses Theatre until Saturday 17 September 2016. It then transfers to the Steiner Theatre from 23 – 24 September 2016. For more information see the Rudolf Steiner House and Theatre website.