Redpill, Theatre Upstairs

Ben's father sits him down to explain a few things to him, some of which, he will find crazy. And Ben does. But crazy can cut both ways, and while we see the world view of Ben's father being crazy, Ben sees it the other way, as 'why didn't he see it before, because it's all true?'. So Ben enters the world of Internet forum 'Redpill' and this changes Ben, and not for the better. Liam Hallahan's play takes us there, through the eyes of Ben, and though a dark comedy it gets broad laughs and groans in equal measure as Ben spirals down the rabbit hole of conspiracy world views that get fuelled and amplified when shared from like minded individuals.

All of this happens over a period of years. When we first meet Ben he is in school, sitting on his comfy seat in front of his computer, with screens behind him. He has his eye on a girl that sits a few rows up from him. He wants to ask her out, and practises. He wants it to be perfect. This is something Ben wants that doesn't change even as he does. But then, outwardly we might change, but the awkward Ben, the lonely Ben and the Ben that feels life and people are conspiring against the likes of him and is all very unfair, remains the same. Ben doesn't really fit in - his favourite show is an anime that he has learnt the dance to, perfectly.

He approaches the girl and it goes far from perfect. In a way, he gets publically ridiculed for it and retreats into his dance, anime and the forum for the anime where he finds a friend, Helen, meets up and all is going well. They attend the same college. But over time Ben feels more than simply friendship, but Helen doesn't feel the same and when told so, Ben reacts with sadness and anger, flitting like Jekyll to Hyde from one to the other in a serious of texts. The ability to communicate quickly is not always our best friend.

Once the anger is out, like Banner becoming the Hulk, it doesn't go back in, and he picks fights with his hipster, yoga loving mother, not telling her that he is talking to his father about it all on the phone; his parents having divorced and his father long gone. That is when he gets the redpill, and like Neo from the Matrix, it lets him see everything for what it is: a vast female conspiracy to keep males, like Ben and his father, down. This is discussed, amplified in coarse, misogynistic language on the forum, and sucks Ben in. He goes to live with his father, who is a freeloader - using his neighbours Wi-Fi, getting Ben to pay for pizza, while going to the bar and moaning about how bad life is for him.

There is a lot in this play, but the writer, Hallahan, handles it very well. He shows us the crazy of it all, and does go for the laughs. But he also shows us the reality of it all, and the effect this can have on people. In Ben he creates a character that starts of right and descends into the mire of Internet points of view. Of course, the dark side of the net is full of many odd and dangerous things - a Guardian article in 2016 cited that 12 million people in the US, according to a poll, believe that 'interstellar lizards in people suits rule our country'. Then there is the grooming, the indoctrination that can lead to violent acts. By focusing on Ben, Hallahan opens up Ben's altered world view, moving from being a nice guy to one less so as the story unfolds. A small thing is that one explanation could have been shorter while achieving the same thing.

Hallahan also plays Ben, in a one person show, making him sympathetic to some degree, but keeps him bright, even as his viewpoint shifts, from feeling victim to feeling like being in control. But the undercurrent in Ben remains, like the idea of travelling a thousand miles, and while the location changes what you carry inside stays the same. He gets the laughs, as we see the irrationality of his 'rational' thoughts, and then groans (heard audibly from the audience the night I was there) as his acts become less cringing and more vicious. Of course, being a one person show, Hallahan plays all others, but their creation is from Ben's viewpoint, rather than creating a new character, which works well. Ben is the storyteller here, and Hallahan doesn't deviate from this, no matter how unsavoury Ben's actions and attitude becomes.

One of the striking aspects is the design and direction. The screens and the white lined floor add to it, combined with the action and sound effects, linking seamlessly with perfect timing. Paul Doran directs, and is aided brilliantly by the design team - Aine O'Hara, Suzie Cummins and Fionn Foley, making sure that this production is tight and tied together perfectly, and creates a world for Ben that is believable.

In all, this is a strong play with a topical theme, and in other hands could have been very heavy, but here, there is a great touch that doesn't compromise in its delivery, while giving some wonderful theatrical touches and moments, utilising the technology in a great way. And, as my review shows, while dealing with one issue, it is also a platform to jump off to other related ideas that the play throws up. But thankfully, they focus on the character and take it from there.