Written, Directed, and Produced by Zora Howard
Review by Dominic Corr
Gravity operates differently in the shadowy expanse constructed by writer-director Zora Howard for the Flea Theater’s European debut at The Royal Lyceum. Suspended mid-air against a sparse backdrop, three black men drift between existence and lingering memory. Though their rigid bodies physically betray the horrific aftermath of a racially motivated execution, their conversation defies the grim reality of their condition. Instead of delivering speeches on systemic oppression, they exchange casual chatter, arguing over iconic blues musicians, romantic misadventures, and unfulfilled aspirations. It is a stark, haunting premise that grips.
The acting ensemble exhibits staggering physical stamina, holding motionless poses for painful stretches before twitching back into brief, agonizing life. Kamal Bolden infuses the swaggering ex-offender with defensive bravado, while Julian Rozzell provides a weary, soulful anchor as the elder statesman. Beside them, Bryce Foley captures the tender optimism of youth yearning for simpler horizons. Movement director Charlie Oates ensures every micro-gesture – a creaking neck, a darting gaze following an unseen passerby – carries immense weight. Yet, the dialogue’s repetitive circularity around male posturing can intermittently stall the dramatic momentum, testing patience.
Production design choices elevate this purgatorial space into a masterclass of atmospheric tension. Neal Wilkinson’s deceptively minimal set operates seamlessly alongside Reza Behjat’s precise lighting shifts, which track the transition from deep night to harsh illumination with clinical focus. Sound designer Megan Culley contrasts organic countryside sounds with jarring industrial hums, accentuating the tragedy unfolding overhead. Complementing this, Dominique Fawn Hill’s understated, era-defying attire keeps the piece outside fixed historical boundaries. Nevertheless, Howard’s reliance on narrative ambiguity – leaving the exact mechanics of their recurring deaths unexplained – means certain broader thematic queries remain tantalisingly unaddressed.
What renders this production so quietly devastating is its refusal to reduce its figures to mere historic casualties or mouth pieces. If the audience isn’t shocked, or comprehends the repetitious atrocities of history by now; then they never will. By foregrounding their vibrant humanity, humour, and flaws against a backdrop of unspeakable violence, the piece strikes a poignant chord. Minor pacing hitches and deliberate narrative opacity do little to dull its visceral punch. The result is a profoundly chilling, intellectually dark hour of theatre that lingers.
Profoundly Chilling
HANG TIME runs at The Royal Lyceum Theatre until August 23rd
Running time – Sixty minutes without interval
Photo credit – Andrew Perry
Review by Dominic Corr (contact@corrblimey.uk)
Editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
