REVIEW: AND IF THE SURFACE TENSION BREAKS by David Brady at Lion and Unicorn Theatre 13 February – 1 March 2025

‘Ultimately, this is an uplifting piece about second chances’ ★★★★

As audiences enter, they experience the intriguing set and video design.  Four LED lights, like lightsabers, stand guard creating a square and behind this, a succession of names with number appear on the screen, starting with Beethoven and becoming more personal. Football Hooligan on train 6103. Assad Ahmed 7003. The Twat from Foxtons 8002. It begins to seem like a lifetime of people who have been significant in a single person’s life. 

It sets up this end of the world story extremely well, with the protagonist’s life story being fed to the audience piece by piece. As Charlie (Conor Rowlett) is dying, three characters help him relive his life in his last moments, Kilo (Ben Watts), India (Kitty Evans) and Tango (Emily O’Mahony). Early in the drama it feels as though this is a liminal space, a kind of Beckettian ‘Waiting for Godot’. As it progresses it begins to feel more like stations, a kind of Pilgrims Progress and finally an expressionist drama, in which Charlie’s fears and obsessions are audible. There is clearly a reason for this choice of form, perhaps a move towards healing and human compassion in these troubled times. 

In the early scenes we learn about Charlie’s young life, and his fear of the end of the world.  Other scenes take us to a museum of his life and finally to his stagnation. Ultimately, this is an uplifting piece about second chances. One of the most enduring images from the show is the birthday cake in Charlie’s hands. It’s a very special day for him. 

Conor Rowlett as Charlie is very natural in the role, the boy next door, while the three other characters are more peripheral, but each has a distinct personality. Ben Watts as Kilo has some nice character traits, pushing one of the others off the seat so that he may sit down himself, really helps to give him a life of his own.  Would adding more of these small touches give all of them more agency and give another layer to the drama? Perhaps.   

Having seen other dramas from this company, it’s clear that Proforca has a distinct aesthetic. Usually minimal, usually very human as it shows small lives, and the work tends to be poetic.  Sometimes this is within the speeches or the dialogue but also in repetition and a neat circularity. The beginning and the end meet in ‘And if the Surface Tension Breaks’.  These are some of the aspects which we have come to expect from this company and have potential for further growth. 

Finally, a word about the soundscape, which is clearly an important feature for author and director David Brady.  At times it’s like an extra character in the show, given the same importance, although there might be room for some of the songs to relate more to the protagonist.  In Lynn Garner’s excellent post show Q&A we find out that the title of the show comes from a song, reflecting Brady’s love of music and his choices of sound design. Also of note, the words of T S Elliot, spoken by himself stand out for clearly being from a past age. It’s the kind of moment in the play which adds a mysterious and profound layer which is very welcome. 

Photography: Ross Kernahan

BOX OFFICE https://www.thelionandunicorntheatre.com/whats-on

CAST

 charlie | conor rowlett

 kilo | ben watts

 india | kitty evans

 tango | emily o’mahony

 with music from olivia thompson

 WRITTEN & DIRECTED BY | DAVID BRADY

 MOVEMENT DIRECTOR | MARK CONWAY

 INTIMACY COORDINATOR | STELLA MOSS

 LIGHTING / SOUND DESIGN | PROFORCA THEATRE COMPANY

 TECHNICAL DIRECTOR | GREGORY JORDAN

 DRAMATURGY | GEORGIE BAILEY

 CINEMATOGRAPHY | CHEWBOY PRODUCTION