The venue of the world premiere of Fiona Doyle’s Abigail - London’s newest Off-West-End addition The Bunker - is the perfect theatrical space for this slick 60-minute contemporary piece. Housed in a former underground parking garage, the theatre prides itself on ‘nurturing a performance environment where audiences stay after the show to enjoy events’, stating that it wants the ‘stage filled with exciting and exhilarating contemporary theatre’. Abigail is most certainly that. Tightly directed by The Bunker’s Artistic Director Joshua McTaggart, this is a stylish and modern two-hander of dark, violent romance told over an ever-skipping timeline.

The play opens in the middle of a couple’s argument, with the young woman (Tia Bannon) verbally attacking her lover (played by Mark Rose). However very quickly we flashback to the early days of their relationship, their first meeting - and falling in love - in snowy Berlin. Over the course of the play we witness their relationship fracture and break apart, highlighted by the jumping timeline, so that the sweetness of their first meeting is juxtaposed cruelly with the violence of later arguments. The acting here is very good, with Tia Bannon encapsulating a dark and dangerous soul within the innocence of a child, and Mark Rose’s underplayed subtlety producing a very believable performance.

Designer Max Dorey’s set perfectly captures the no-man’s land between times with his backdrop of cardboard boxes - which also speaks of an ending of relationships ending. The costume design deserve a nod too, for its effective and economical practicality that works seamlessly alongside the actors as they transition through time. These time transitions are beautifully directed, with the combination of the actor’s movement, the sound design (Andrew Josephs) and lighting (Christopher Nairn), a highlight of the show.

There are times (three quarters of the way in) when the script drags slightly, perhaps lacking point or direction, or perhaps ambiguity for ambiguities sake, but largely the piece is interesting, engaging and surprising. Joshua McTaggart is clearly an intelligent director, and our invitation from the lead actress at the end to stay and join discussions and after-show events adds weight to The Bunker’s ethos of discussion and involvement. Abigail is certainly a play that invites question and interrogation.

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