• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Ed Fringe

Killology at The Royal Court

June 3, 2017 by Bennett Bonci Leave a Comment

Review of: Killology at the Royal Court

Reviewed by: Bennett Bonci
Rating:
3
On June 3, 2017
Last modified:June 3, 2017

Summary:

At its most revolting, Killology is an ear-plugging, hair-pulling, seat-leaving affair.

More Details

“There is an instinctive revulsion against taking a human life.” Killology writer Gary Owens knows this, and he is not afraid to use it against his audience. At its most revolting, Killology is an ear-plugging, hair-pulling, seat-leaving affair.

Paul (Richard Mylan) is a designer responsible for a new video game that rewards players for torturing their victims. Davey (Sion Daniel Young) is a bullied kid and Alan (Seán Gleeson) has just broken into a man’s house. They relate their tales through a series of monologues that bounce between the three characters, eventually revealing the links between them. Owen invests just enough time in making the characters likeable before using that to throw body blows with a series of horrific, precisely-described events. To say he “kicks the dog” would be an understatement.

Richard Mylan’s Paul becomes the only relief from dread and misery. Though he portrays the kind of arrogant prick that is natural to hate, the vulnerabilities baked into the character and Myland’s easy delivery injects some much-needed comedy into the otherwise dark show.

That darkness extends beyond the subject matter. The stage itself is black; the only ornamentation being piles of black wires with more hanging from the ceiling. A single spot illuminates the speaker. Later, certain scenes are illuminated from the back, like with floodlights on a football pitch. It’s abstract and stripped back, but it works.

In Killology’s second act, I expected it to go for the kill. After wearing me down in the first, surely Owen would finish with some uncontestable expression of humanity’s capacity for cruelty. Instead, the show feints, revealing that it is less about depictions of violence than the relationship between fathers and sons. As the show reaches its conclusion, it becomes quieter, more introspective.

I was disappointed, even angry. For that conclusion, the parade of brutality that is the play’s first half seems at best, unnecessary, and at worst, sadistic. It may be that the show’s final act of violence is intended as the proof of the point: video games incite violence, done. If so, then it’s failed to convince in this instance. If not, then the theme of violent media just disappears for the last 20 minutes, unresolved.

The ending isn’t badly done in itself. There are secrets it deftly reveals, and the difference between its three characters comes into focus. The father/son theme gains prominence slowly, rather than appearing suddenly, and it does work to excuse another all-male cast.

But Owen never delivers the headshot. So while Killology’s most striking feature is its awfulness, that is more an obstacle than a literary device, and one that’s only just worth overcoming.

Avatar

Author: Bennett Bonci

Filed Under: Featured, Review

Join the discussion Cancel reply

Hands Face & Empty Space / Emily Beecher on being a reluctant producer and unproducer

On the 17th March, it will be exactly one year since UK theatre came to an overnight standstill. Every day [Read More]

Hands Face & Empty Space / Alison Ford on maternity, redundancy and doing what’s right

On the 17th March, it will be exactly one year since UK theatre came to an overnight standstill. Every day [Read More]

Hands Face & Empty Space / Peter Moreton talks about growing the grass roots

On the 17th March, it will be exactly one year since UK theatre came to an overnight standstill. Every day [Read More]

NEWS / Concert opportunity for musical theatre performers

A series of three concerts featuring musical theatre and drama graduates will be streamed from London’s Cadogan Hall in March. [Read More]

News / By The Waters Of Liverpool Announces UK Tour Dates

 THE HELEN FORRESTER PLAY BASED ON THE BEST-SELLING BOOK WILL RUN FROM SEPTEMBER 2021 VISITING SEVENTEEN VENUES ACROSS THE UK  [Read More]

Top Posts & Pages

  • Alison Ford on maternity, redundancy and doing what's right
  • Emily Beecher on being a reluctant producer and unproducer
  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • Peter Moreton talks about growing the grass roots
  • Actor's Corner: Keeping Curious with Jamie Baughan
  • Yasmin Paige on Actually
  • The Life at Southwark Playhouse
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Writing the Perfect Press Release
  • How to Applying for Arts Grants and Funding
  • Avatar

    Bennett Bonci
    Contributor

  • June 3rd, 2017
  • comment iconNo Comments
  • Facebook1TweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2021 · Blue Pie Media

    Share this ArticleLike this article? Email it to a friend!

    Email sent!