• 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
  • Tickets

The Internet Was Made For Adults at VAULT Festival

February 13, 2018 by Maggie Kelly Leave a Comment

Review of: The Internet Was Made For Adults

Reviewed by: Maggie Kelly
Rating:
3
On February 13, 2018
Last modified:February 13, 2018

Summary:

Confusing mix of stories hindered by restrictive blocking

More Details

There is a lot to get through in The Internet Was Made For Adults. Following the stories of four twenty-somethings trying to navigate through porn, WhatsApp, not so much sex, lots of sex, pain during sex, Tinder, dating etc, there is just a huge amount of stuff to fit in a 70 minute show. One wonders whether concentrating on a couple of storylines and exploring them in detail might have given a better result than trying to squeeze everything in, leaving a couple of stories underdeveloped and overflowing bits strewn across the floor.

There’s a definite sense of Fleabag around The Internet Was Made For Adults. Very much porn-and-sex-positive, the show starts off with a barrage of social media notifications, email alerts and emoji after emoji. It’s clear from the very start that the cast are phenomenal – never missing a beat, they stride their way through the onslaught with a precision and a clarity that is hard to match. However, the stage itself seems to be working against them. The set is made of four light-up boxes and four panels hung at the back that divide the space into strips rather a la Anatomy of a Suicide, keeping each actress caught in a bizarre cycle of stepping forwards and backwards when it’s her turn to speak, not able to stray over her line. This very abstract way of setting the piece firstly distances us from any particular locations (it’s only really clear around 40 minutes in that the girls are housemates) and being (quite literally) stuck in their ruts means that there’s a difficulty getting them to form any realistic, emotional relationships. Stylish, yes, but the blocking rattles over the points of plot in a way that obscures the reasons behind the style.

Despite these early teething issues, the play very much comes in to its own when one of the characters, Freya, is revealed to have a syndrome that means having sex is incredibly painful. The consequent 10 minute discussion about the societal reception of male vs female sexual pain is a highlight of the show, and where all the bits of style, sound and acting magically come together in a smorgasbord of theatrical loveliness. But there’s so much to discuss and not enough time – 10 minutes later the piece dashes on to look at dating, cabaret and reliance on your female friends before the 70 minutes is up.

All The Internet Was Made For Adults needs is a fresh eye, a good cut and a decision made on which stories need to be told and which can wait until another time. The acting is tight, the design stylish, but the whole piece seems like it’s fighting a losing battle until it finds either a form to fit the story, or a story to fit the form.

Author: Maggie Kelly

Filed Under: Featured, Review Tagged With: The Internet Was Made For Adults, Vault Festival

Join the discussion Cancel reply

INTERVIEW / Silent Faces on Godot is a Woman’s first UK Tour

Silent Faces return to the stage with their signature style of playful and political physical theatre, interrogating permission, patriarchy, and [Read More]

INTERVIEW / Max Rinehart on The Retreat

We spoke to actor Max Rinehart about his experience working on the European premiere of Jason Sherman’s The Retreat at [Read More]

NEWS / Frozen Light celebrate 10 years with Sensory Symposium

The UK’s premiere company for adults with profound and multiple learning disabilities invites industry professionals of all genres and sensory [Read More]

INTERVIEW / Jenny Foulds on Life Learnings of a Nonsensical Human

Performer Jenny Foulds tells us about her forthcoming one woman show Life Learnings of a Nonsensical Human, coming to the [Read More]

INTERVIEW / Monique Touko on We Need New Names

We Need New Names is a defiant and exuberant coming-of-age story follows a young girl from the playgrounds of Zimbabwe [Read More]

Top Posts & Pages

  • Max Rinehart on The Retreat
  • The Cherry Orchard- a translation for modern times and a modern audience? The Young Vic
  • Does Small to Mid Scale Theatre Touring Actually Work?
  • The Adrian Pagan Award is Back - Could You Win It?
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Monique Touko on We Need New Names
  • Gavin Maxwell and William Townsend talk Anthropocene
  • Unleash The Llama talks Five Years With The White Man
  • Tim Edge talks Under the Black Rock
  • Crowdfunding In Theatre - An Overview
  • Maggie Kelly
    Author

  • February 13th, 2018
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    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 © 2023 · Blue Pie Media

     

    Loading Comments...
     

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

      Email sent!