As the tenth anniversary of the 9/11 terror attacks steadily approaches, tributes to this remarkable and devastating moment are beginning to take place, and naturally theatres are programming provocative and reflective plays that depict this time in history. The Mercy Seat by Neil LaBute marks Glow Box Productions’ debut performance at the Pleasance Theatre. This is a piece that doesn’t so much look at the events of 9/11 but rather zooms into a relationship that has been impacted on by the life-changing moment when decisions have to be made. Ben (Sean O’Neil), a former officer worker in the World Trade Centre is seeking refuge from the world outside in Abby’s (Janine Ingrid Ulfane) flat, who happens to be his boss and mistress. Their illicit relationship has been going for three years, but under the boiling hot temperatures of New York in chaos, their choice of whether to return to normality or flee to a better life together brings about LaBute’s examination of human crisis in this two-hander play.

Whilst The Mercy Seat might be framed by the events of 9/11 it does has to be stated that this acts more as vacuum which the characters can’t escape from. The narrative is sealed within the complexities of Ben and Abby’s long-term relationship, their sneaking off at conferences, and hand clutching under office tables is tested when the catalyst of the World Trade Centre (which Ben was meant to be in at the time of the terror attacks) gives them the opportunist moment of potential freedom. LaBute’s play focuses on the human lust and need for another to love and cherish, when ultimately everything the relationship is built upon is just as easily collapsable as the World Trade Centre’s towers themselves. Some buildings are not meant to stand forever, and some relationships most certainly can’t stand the test of time.

Sean O’Neil and Janine Ingrid Ulfane cope admirably with LaBute’s difficult text. It has to be said that for an hour and forty-five minute performance The Mercy Seat is no easy text to perform. LaBute’s characters, whilst clearly defined in Rob Watt’s direction, are extremely dry and unforgiving. The text never seems to propel itself away from the continuous rhythm that O’Neil and Ulfane find themselves in as they ‘go through the motions’ of a relationship that is questioning and clinging onto past emotions and memories. To write frankly, whilst LaBute’s intention might be to examine his characters under a magnifying lens for his audience, this doesn’t create the most exciting of plays to watch. The tension and conflict that is so needed for theatre to sustain its audience is inherently absent in The Mercy Seat, and I can’t help but to feel that it’s not Watt’s directional choices, nor O’Neil and Ulfane as actors that are to blame. LaBute has written an occassionally funny two-hander, but never does it provoke more than the act of watching two very uninspiring characters.

Having said this, The Mercy Seat is a commendable production, it doesn’t falter under the weight of LaBute’s text, but neither does it soar. It is, just as it is. If anything the production should be applauded for its commitment and sensitivity towards the ever-looming subject matter of 9/11. With Nik Corrall’s set stacked high with furniture and books under dust sheets, a single television projects images throughout the performance of news channels showing coverage of the terror attacks. It’s subtle, but a constant reminder of the greater impact of the events. Both O’Neil and Ulfane, whilst lacking in chemistry, do present distinct characters throughout, and at times give a glimmer towards the comedic nature of their relationship – especially the examination of sexual intercourse between them. The Mercy Seat won’t tug at your heart-strings, but neither will it leave you bored, it will simply play out and one hopes that the audience can take something from LaBute’s frigid dialogue.

The Mercy Seat is playing at The Pleasance Theatre until 18th September and runs for 1 hour and 45 minutes. For more information, see the Pleasance Theatre website.