Upon entering the black box studio at The Bunker Theatre, house music is pumping and in the bar, club lights are flashing. This is not your average theatre visit. Adam Scott-Rowley presents a cavalcade of male and female characters in this 50-minute piece. We are introduced to personalities which spread over the entire spectrum of humanity, and it is astonishing to witness Scott-Rowley in an instant switch from character to character.

Out of Spite Theatre’s abstract comment on society is not shadowed by the fact that this one-man show is performed entirely nude. From the get go, Scott-Rowley takes on the form of one of the most extreme characters, a porn actress, which quickly and amusingly dispels any discomfort the audience may be feeling about being presented with a fully naked person, allowing us to witness this masterclass in multi- roling, not to mention histrionics.

Scott-Rowley’s characters span from the hilariously entertaining, to the viscerally troubled, and what starts as a very humorous affair, effectively slides into the darker issues of each scenario, some cleverly linking one to the other. What is also astonishing is that Scott-Rowley directed the piece himself, with not one character being the same, distinguishing between each one with physical habits and posture, and impressive quality of voice. He takes the opportunity to interact with the audience through ad lib, then jumps straight back into the text, which shows just how skilled an actor this man is.

Some may ask, ‘Is he only nude for the shock- factor’? This should be answered with ‘No, it is much more than trying to be scandalous’. The ‘stripped back’ affair simply reminds us that we all made of the same make up, however none of us are the same.

Lighting, designed by Will Scarnell and Matt Cater, is cleverly used to suggest location and provide atmosphere for each scene, as there is no set or props, apart from a black stool and a low hanging light with a microphone attached. The transitions are as quick as the character changes, which is no mean feat, this production is set out to the letter. The same can also be said for the sound design, courtesy of Graeme Pugh.

This Is Not Culturally Significant is quite literally a bare-knuckle ride. It is a gripping piece of theatre which absolutely deserves the standing ovation it is met with, and while it claims to not be ‘significant’, it most certainly is relevant.

This Is Not Culturally Significant is playing The Bunker Theatre until 3 June.