Two Twenty Somethings review
Walking out of the theatre from Two Twenty Somethings Decide Never To Be Stressed About Anything Ever Again. Ever., I looked at my friend, she looked back and we immediately compared the play’s characters to our mutual friends. Throughout the relentless comedy serving uncontrollable laughter, the play brings a huge level of authenticity and familiarity, proving uniquely relatable.
Two Twenty Somethings is carried on the backs of Jasmin Simmons and Kieran McGrath. Throughout the hour-long run time, they sustain a gripping high energy, demanding a special kind of attention not too far off from how we might watch a hyperactive kindergartener having a tantrum. Yet all the while (with assistance from Michael Costi’s outstanding script)
performing with an immense amount of sincerity, and veracity in their delivery and characterisation, perfectly straddling the line between over the top and realistic. Additionally Elliott Mitchell’s character while criminally underused brings a perfect dreamscape of hippie swagger, and an important contrast to the other performances.
What struck me the most was its seeming inspiration from sitcoms, at times bringing to life scenes that would not feel out of place in a show like Friends or Modern Family. It likens itself to Marvel’s WandaVision, simultaneously celebrating these iconic tropes while flipping them on their head, showing the unachievable nature these shows present, and questioning our contemporary understanding of the world and ourselves.
Eve Beck experiments with strong directorial choices that effortlessly prove themselves while watching. Transitions have a purpose, they’re not just a means of reorganising the set, they show character, they show progression and time, every moment is packed with something, leaving the play with a pace hardly shy of perfect. Scenes have a rhythm and a secondary dialogue that invisibly plays out, for example a character cuts a leek with each chop building in tension, exemplifying the character’s anxieties.
A combination of Benjamin Brockman’s lighting, Grace Deacon’s set and Alexander Lee-Reker’s sound tie the production together. The lights have nuanced placements to create an authentic-looking apartment that show the progression from night to day. The sound design expertly shifts the mood of scenes, and changes the pace from afar. While the set has a
fantastic naturalistic design, providing everything you would need and more for the actors to play with.
You’re doing yourself a disservice by not seeing Two Twenty Somethings, a perfect comedy, with more substance than you could’ve ever asked for. Do not miss this. 5/5.