Written by Mhairi Quinn

Directed by  Sarah Rose Graber

Tandem Writing Collective’s next showcase is Ivor on May 24th, Tron Theatre, Glasgow

There’s a lot to be angry about right now. 

Between the cost of olive oil, back-tracking on equality and fundamental rights, and with the current state of funding and opportunities for those in theatre across Scotland seemingly slashed with every passing day, we could all do with an hour in the Rage Room: even if it was £60 an hour. 

From the off, there’s a clear sense of recognition and elements at play in Mhairi Quinn’s writing – that of generational differences (particularly towards feminism) and the psychology of dealing with stress and family matters. Rage Room’s premise, as anger often does, hits the comedic underbelly hard – the fuelled intensity of the play coinciding with the terrific building performances from Natalie Arle-Toyne, Kim Allan, and the fab Betty Valencia. 

A story which presents generational divides and the suppression of anger, chiefly the ‘unsightly’ behaviour of angry women, Rage Room follows the initial thread of Jos (Valencia), a lifestyle podcaster who has moved back in with her mother and sister. #Gifted a rage room in Govanhill in a partnership with her social media channels, Jos takes her family to this ‘treat’ with the promise of a fun time. Her mother is unconvinced. Armed with baseball bats and decades’ worth of unresolved issues, things can only go well. And absolutely not dissolve into a deadly, hectic, chaotic, and deeply humorous piece of promising theatre. 

Often bolstered by some terrific live music from cellist Jessica Kerr, which provides both atmosphere and the soundtrack to some of the show’s more crucial moments. Quinn’s writing steps into the more honest nature of what is ‘getting’ to these characters the truths behind what they claim and the anger and aggression throttle forward (with the cast all responding accordingly). The tightness in Graber’s pacing works well with the concept of the writing; these rage rooms and experiences are often conducted in hour-chunks. It makes for a brilliantly authentic and ‘live’ sense of time scale and would benefit from a full sixty-minute production to allow just those final extra moments to ramp it all up to eleven (and more…). 

The characterisation is currently in flux, as the production finds a more distinctive presence for each of the roles (Dee suffers the most, but only in terms of the writing). Performance-wise, Rage Room has the tremendous benefit of a trio of stellar performers who give their all to the read-through, building and boiling their rages, Valencia once more putting both comedic and dramatic performances to great use, Allan and Arle-Toyne both matching the energy with commitment and vim, their roles just a touch under-written (for now). The darker elements of the production offer a necessary depth away from the comedy but could benefit from a longer production to feel more nuanced and natural in conclusion. 

Rage Room is an explosively freeing piece of theatre – its shrapnel flying high and lacerating more profound elements. It’s without question impressive for a script-in-hand and work-in-progress piece. One we’re keen to see have a further life, with a few tweaks and reinforcements to enable a more natural sense of purpose and dialogue for some of the key characters and moments. And for faults in the closing moments pacing and narrative conclusions, there’s a promising future for Quinn’s show. It’s a brief fifty-minute reminder that in the foggy uncertainty of Scottish funding and restricted opportunities, where there’s plenty to rage about, we need to celebrate something promising. 

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